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Limitiert auf 300 Exemplare. THE WORLD IS YOURS ist die Debüt-EP der Hardcoreband SYFF. Als Tape war diese EP innerhalb von kurzer Zeit ausverkauft und wahrscheinlich wird es mit dieser 7" in kleiner Auflage genauso gehen. Die Band hat die Songs der EP komplett in Eigenregie produziert, aufgenommen, gemixt und gemastert. Hört selbst, was dabei raus gekommen ist. Inhaltlich geht es auf The World Is Yours um die Themen Krieg, Gewalt, Terror, Weltschmerz, sowie das Gefühl der Ohnmacht gegenüber einer Welt, in der derjenige regiert, der die meisten Bomben hat. Das Cover ist eine bildliche Repräsentation dieser Ohnmacht. Die kanalisierte Wut darüber wird rastlos auf 5 Songs aufgeteilt, die insgesamt nur 8 Minuten dauern. Die dazugehörige Musik ist laut und der Gesang zeigt zwischen dem fortwährenden Geschrei portionierte Melodie- und Sprecheinlagen. Die Songs gehen nahtlos ineinander über und lassen den Hörer*innen keine Zeit durchzuatmen. Ein außergewöhnliches Debüt.

‘Les Cigales’ takes its’ sonic cues from the structure of film and TV music from the 1960s and 70s, channelling the influence of film composers such as Francois de Roubaix and David Axelrod, whilst also sitting somewhere between the washed out, sun-soaked sonics of Surprise Chef and Robohands. As the EP unwinds, its narrative reflects a love story, full of longing, melancholy and drama, connecting with the story of Gyptis and Protis – the founding myth of Marseilles – whose love broke convention and welcomed the arrival of foreign people on French soil.

The project follows The Offline’s debut album ‘La couleur de la mer’, released in November 2023, which saw him create his own soundtrack to a film yet to be made. Inducing images of manorial, fog- swept villas at the seas edge, silhouetted sailing boats and cigar-chomping villains attempting to thwart the mission of an imaginary hero, the record is a masterfully composed sonic journey. ‘Les Cigales’ sees him continue to build upon a distinctive sound that moves from dramatic cues to fragile romanticism, incorporating psychedelic spaciness, retro soul and hip-hop sensibilities informed by his extensive record collection.

Exactly 15 years ago, the two goats Goatfreed and Goatleeb Udder landed on Earth from the distant planet of planet GoatEborg to honor us with hard sounds. Some extraterrestrial acts have already tried to gain a foothold on earth, always with the intention of world domination, but only the prominent pair of brothers have been able to do so so far. With their last two studio albums, the band made it into the official the official German album charts - with their groovy sound somewhere between death metal and grindcore. The debut album "Back From The Goats" was released on CD & Digital on 30.10.2009. Now, for the 15th anniversary of the record, the album will be released on vinyl for the first time.

"Turmion Kätilöt, the Finnish-singing industrial and electronic metal band hailing from the barren wastelands of Savo, is rapidly becoming a new favorite among open-minded metal fans in the mid-2020s. The odds of their rise to prominence are nothing short of great.
Known for their ecstatic and theatrical concerts, Turmion Kätilöt invites you to dive into their twisted world of ""disco metal."" The current lineup features singers MC Raaka Pee and Shag-U, guitarist Bobby Undertaker, bassist Master Bates, keyboardist RunQ, and drummer DQ. Since the early 2000s, this vivid sextet has been delivering a unique blend of electrifying heavy music, characterized by its peculiar, perverted, and catchy style. Their journey includes numerous sold-out concerts, gold and platinum records, and Emma nominations (Finland's equivalent to the Grammys).
Turmion Kätilöt's depraved disco ball has also shone beyond Finland. Many fans remember their legendary European tour with Pain in 2011. In the 2020s, their fame continued to grow, highlighted by their selection as the opening band for Nightwish's sold-out European arena tour in 2022.

Now, Turmion Kätilöt is ready to unveil their latest creation: ""Reset."" Founding member and main songwriter MC Raaka Pee explains, ""Reset is simply the perfect name for our new studio album. For us, Reset is more about taking advantage of everything we've learned over two decades and then adding new nuances to our metallic disco vortex."" With twenty years and ten studio albums behind them, Turmion Kätilöt continues to push their boundaries. ""We have relentlessly raised our own bar with every record,"" says the band. ""Reset is our best album to date, and we simply couldn't be more satisfied.""

""Reset"" features all the hallmarks of Turmion Kätilöt: twisted synths, underfoot grooves, pounding beats, and cryptic lyrics, all with a stronger musical vision than ever before. The album is described as a ""bastard child"" of their previous records, with new spices added. The vocal parts, a mix of fierce screams and melodiousness, add a special twist.


Line up:
MC RAAKA PEE -vocals
SHAG-U - vocals
MASTER BATES - bass
BOBBY UNDERTAKER - guitar
DQ - drums
RUNQ – synths
"

Elephant9 begründeten ihren Ruf als Live-Powerhouse schon lange vor ihrem Albumdebüt im Jahr 2008 und haben seitdem sechs weitere Studioalben sowie die beiden Doppel-Live-Alben Psychedelic Backfire I und II im Jahr 2019 veröffentlicht, letzteres mit Gastgitarrist Reine Fiske, dessen Lieblingsgitarrist zufällig Terje Rypdal ist. Da beide Alben vergriffen sind, ist Catching Fire eine höchst willkommene Ergänzung ihrer Diskografie. Aufgenommen bei einem bemerkenswerten Konzert von 2017 in Oslo - Rypdal würde in diesem Jahr 70 Jahre alt werden. Catching Fire hat Gemeinsamkeiten mit klassischen Live-Alben von Mahavishnu Orchestra, ELP und King Crimson, vor allem, was das Energieniveau und den Sinn für ungezügelte Intensität angeht. Dennoch gibt es auch ruhige Passagen, vor allem im 22-minütigen Opener, in dem sich Rypdal mit einigen typischen, gletschermelodischen Linien vorstellt. Rypdal ist die ganze Zeit über Feuer und Flamme für Lead-Action, heftige Rhythmusarbeit und abstrakte Akrobatik aus seinem Werkzeugkasten.Terje Rypdals Hauptwerk ist bei ECM erschienen, zunächst als Mitglied des Jan Garbarek Quartetts (Afric Pepperbird, 1970) und mit seinem ersten Soloalbum Terje Rypdal (1971), das bis zu Conspiracy (2020) insgesamt etwa 30 Veröffentlichungen umfasst.Ståle und Terje teilen ein gemeinsames musikalisches Verständnis, das daher rührt, dass Ståle seit fast 30 Jahren die ,rechte Hand" des Gitarristen ist, sowohl im Studio als auch auf der Bühne. Torstein und Nikolai sind die solideste aller Rhythmusgruppen, ein gut geölter Motor, der Finesse und Kraft vereint. Ståle Storlokken - Hammond, Rhodes, Mellotron Nikolai Hængsle - Electric bass Torstein Lofthus - Drums Terje Rypdal - Electric guitar.

Bounds follows Craven Faults"second full-length album Standers. Following loosely in the footsteps of 2020"s Enclosures release, here"s another 37-minute journey through Northern England via a lifetime obsessing at the fringes of popular culture.

Bounds follows Craven Faults"second full-length album Standers. Following loosely in the footsteps of 2020"s Enclosures release, here"s another 37-minute journey through Northern England via a lifetime obsessing at the fringes of popular culture.

Mit dem Label MPS wurde in Deutschland musikalisch Nachkriegsgeschichte geschrieben: edle Musikproduktionen mit vielen internationalen Größen kommen aus dem Schwarzwald. In dieser Tradition bewegt sich das sich das Villinger Label HGBSBlue mit Neu- und Archivaufnahmen auf hochwertigem Vinyl, teilweise aus dem MPS-Archiv. Was sind das für Klänge? Sie sind eigenwillig, machen fast süchtig. Sie sind mitreißend, wehmütig und lassen sich in keine der gängigen Schubladen stecken: Georgische Polyphonie gemischt mit Minimal Music, einer Prise Jazz und prickelndem Elektro Pop. Grenzen kennt diese Musik nicht. Gibt es Vergleichbares?? Kaum. Björk vielleicht. Es geht um Russudan Meipariani, eine Pianistin, Komponistin und Sängerin aus Tiflis, die seit gut 20 Jahren in Stuttgart lebt. Gemeinsam mit Schwester Natalie und Schwager Giga bilden sie das Russudan Meipariani Ensemble und spielen jenseits der üblichen musikalischen Grenzen. Dementsprechend auch der Titel ihres neuen Projekts: "Beyond The Boarders", welches im Oktober als Vinyl-Platte auf dem Schwarzwälder Label HGBSBlue herausgebracht wird. Die Polyphonie ihres Heimatlandes Georgien hat es der aus einer Musikerfamilie stammenden Komponistin Russudan Meipariani naturgemäß angetan. In den 1990 Jahren spielte sie mit Schwester Natalia (Geige) und Schwager Giga (Cello) als klassisches Trio zusammen und machten sich dann auf nach Deutschland. Hier setzten sie zunächst ihre Musikausbildung fort, um und dann als Musiker tätig werden. Russudan war sogar Studentin bei der Komponistenikone Wolfgang Rihm (1952-2024). Das neue Album des Russudan Meipariani Ensembles ist eine musikalische Besinnung auf Herkunft und Heimat, eine Musik über Sehnsucht und Erinnerung. Das Trio bringt Welten zusammen und schafft einen einmaligen Klangraum an der Schnittstelle von Klassik, Jazz, georgische Polyphonie, Postminimalismus und Improvisation. Die Musik steckt voller Sentimentalität und Weite, ist dann wieder mitreißend oder auch wehmütig. Viele ungewöhnliche Facetten tauchen auf, aber niemals Langeweile. "Diese Musik ihrer steckt voller erzählerischer Kraft und einer soghaften Poesie. Man möchte nicht aufhören, ihr zuzuhören", schreibt Julia Neupert, Redakteurin für Jazz und Neue Musik beim SWR in Stuttgart, die die Liner Notes zu dieser LP geschrieben hat. Ein ungewöhnliches Hörerlebnis!

Mit seiner nunmehr 10. Platte für Exile On Mainstream (die 'Suiciety' Single und das Trialogos-Album "Stroh zu Gold" einfach mal mitgezählt) braucht Conny wohl weder eine Einführung, noch eine oberflächliche Bejubelung. "Troubadour" würde das auch nicht gerecht, denn selten hat man den in Deutschland und Italien lebenden Künstler so reduziert, deep und nahbar erlebt. Die Platte ist eine Hinwendung zu seinen Wurzeln als Solokünstler, der mit spärlicher Instrumentierung und bedingungsloser Ehrlichkeit ganze Kathedralen mit Emotionen füllen kann. Nach eher experimentellen Ausflügen auf "Wahn und Sinn", seinem vielbeachteten deutschsprachigen Album aus 2023 und dem eher opulent instrumentierten "Doom Folk" von 2019 ist "Troubadour" nun wieder ein reines Singer/Songwriter-Album geworden. Eine Gitarre, eine Stimme - mehr braucht es nicht. Conny beschreibt es selbst wie folgt: "Meine Idee war, ein Album zu machen, das den minimalistischen Ansatz von Raw Love Songs und Black Happy aufgreift, aber zugleich das widerspiegelt, was ich heute erlebe. Konzerte sind für mich immer das Herz meiner Musik, deshalb wollte ich Stücke schreiben, die ich jederzeit und überall spielen kann - in Clubs, auf Festivals oder unterwegs, unter den geringsten Anforderungen. Ich hatte eine Platte im Kopf, die Raum zum Atmen und Zuhören bietet, damit man die Details der erzählten Bilder erkennen kann." Für Fans von Townes Van Zandt, Leonard Cohen, Elliott Smith

Das japanische No ist die älteste lebendige Theaterform. Themen wie Schuld, Liebe und Erlösung werden in Text, Tanz und Musik verhandelt. Eric Schaefer ist dem Land Japan und der japanischen Kultur schon seit vielen Jahren verbunden. So begann er, inspiriert durch seine Besuche des No-Theaters, während eines dreimonatigen Aufenthalts und Unterrichts bei Prof. Takanori Fujita (Kyoto City University of Arts) den Liedzyklus HAYASHI zu komponieren. Ein Begriff, der das im No agierende Musikensemble benennt, der aber auch einen Hain beschreiben kann. Die Erstaufführung von HAYASHI fand beim Jazzfest in der Oper Leipzig 2023 statt - gespielt vom Eric Schaefer Ensemble und gemeinsam mit den japanischen Künstler*innen Ichi-Go (Tanz) und Acci Baba (Videokunst). Nun liegt die Studioproduktion von HAYASHI vor. Auf Vinyl und in einer limitierten Auflage. Mit einem Coverbild der in Kyoto lebenden Kalligraphin Chizu Ikura. Die Musik des No hat sich aus einer heterogenen Vielzahl volkstümlicher und religiöser Spielarten (Matsuris, buddhistische Rituale) entwickelt und besitzt eine kompositorische Struktur, die den Ausführenden einerseits exakte Vorgaben macht, aber andererseits selbstbestimmte Räume und Unschärfen besitzt, die sich zu Improvisationen öffnen. Die Komposition HAYASHI von Eric Schaefer nimmt diesen Modus Operandi des Musizierens im No-Theater auf. Durch die Zusammenarbeit von klassisch gebildeten und improvisierenden Musizierenden wird eben dieses fluide Durchwirken von festgelegten und frei zu interpretierenden Kompositionsteilen ermöglicht. Es gibt hier nur eine Partitur für alle, eine semantische Ebene, auf der sich alle bewegen. "Letztlich", so Eric Schaefer, "gehen wir mit dem Ensemble HAYASHI der Frage nach, was uns diese alte Kunstform des No heute ästhetisch sagen kann, wie wir mit Freiheit und Gebundenheit in der Musik umgehen." Dies geschieht im Geiste Zeamis, dem Gründer des No-Theaters, der vor 600 Jahren schrieb: "Das Alte befragen, das Neue begreifen".

"Dark Horse Records celebrates the 25th Anniversary of ROCK ART AND THE X-RAY STYLE, the debut album by JOE STRUMMER AND THE MESCALEROS, with a 2LP black vinyl pressing (including a limited lyric sheet reproduction) and CD.
The remastered 1999 album, which was Strummer’s first album release in a decade, is spread over 2 LP’s for optimal sound quality, and the original gatefold artwork by Damien Hirst has been meticulously reproduced.
The LP also includes a reproduction of Joe’s handwritten lyrics to the song “X-Ray Style.” The CD includes a fold-out poster."

L.A. Is My Lady was a high-energy event, hitting the Billboard Top 200 and top 10 on the Jazz chart. It featured the title song, which got into MTV rotation, and Sinatra’s first recording of “Mack the Knife.” Musical guests include George Benson, Lionel Hampton and Bob James. Legendary songwriter Sammy Cahn wrote new lyrics for “Teach Me Tonight” and “Until the Real Thing Comes Along.” This 40th anniversary deluxe LP edition includes new mixes for the original album

"Sophie Allison has always written candidly about her life, making Soccer Mommy one of indie rock’s most interesting & beloved artists of the last decade. On Evergreen Allison is again writing about her life, but life’s different these days: Since 2022's Sometimes, Forever Allison experienced a profound & personal loss. New songs emerged, unflinching reflections on what she was feeling. She wanted them to sound that way too, as true to the demos as possible. Nothing overindulgent, everything real.

UK HIGHLIGHTS: BRICKS Magazine cover, DORK Magazine cover, Line of Best Fit Cover, NTS Takeover, features from CRACK, NME, Wonderland, Louder Sound, support from Kerrang!, Rock Sound, CLASH, 6Music, Apple Music 1, Radio 1, Radio X. Recent UK shows: Glastonbury 2024, Outbreak 2024, UK Headline tour in May 2025"

"Sophie Allison has always written candidly about her life, making Soccer Mommy one of indie rock’s most interesting & beloved artists of the last decade. On Evergreen Allison is again writing about her life, but life’s different these days: Since 2022's Sometimes, Forever Allison experienced a profound & personal loss. New songs emerged, unflinching reflections on what she was feeling. She wanted them to sound that way too, as true to the demos as possible. Nothing overindulgent, everything real.

UK HIGHLIGHTS: BRICKS Magazine cover, DORK Magazine cover, Line of Best Fit Cover, NTS Takeover, features from CRACK, NME, Wonderland, Louder Sound, support from Kerrang!, Rock Sound, CLASH, 6Music, Apple Music 1, Radio 1, Radio X. Recent UK shows: Glastonbury 2024, Outbreak 2024, UK Headline tour in May 2025"

"Ratt’s 2nd full length album, ‘Invasion Of Your Privacy’ was released in 1985. Certified double platinum and also reaching #7 on the Billboard Top 200, ‘Invasion of Your Privacy’ also featured the classics “Lay It Down” (#40 Billboard Hot 100) and “You’re In Love”.
The album features the classic line up of Stephen Pearcy (vocals), Warren DeMartini (guitars), Robbin Crosby (guitars), Juan Croucier (bass/vocals), and Bobby Blotzer (drums), and is now available on CD and Limited Edition black, grey & white segment vinyl."

Charlie Parker had a complicated relationship with his hometown of Kansas City, MO owing both to its history of racial segregation and to his strong ties to his family and friends there. This new set of rare recordings dating from 1941–1951 — most of them never having been heard before and some never even having been known to exist — chronicle Bird’s evolution from a blossoming soloist with the Jay McShann Band into a brilliant improviser who dominated the jazz landscape for decades to come. In addition to two unreleased 78s with the McShann band, this set offers two sets of private recordings (at the home of Bird’s friend Phil Baxter and at Vic Damon’s studio) made with local musicians and a very relaxed-sounding Parker who has the room to really stretch out and show us the shape of jazz that was to come in his wake.

Lil Yachty und James Black veröffentlichen ihr kollaboratives Album ”Bad Cameo”!
Yachty und Blake beschreiben das Album als ambient, experimentell und anders als alles, was die beiden
zuvor gemacht haben. Yachty sagt,” ich glaube, James hat mit einer ganzen Reihe von Hip-Hop-Künstlern
zusammengearbeitet. Aber dieses Projekt ist für uns beide so einzigartig.“

Atemberaubend, wie die zierliche Pianistin konzentriert Ton an Ton setzt, den zarten Klängen ausreichend
Raum und Zeit lässt. Souverän webt Gary Peacock seine Basslinien ein, und Paul Motian schafft jenseits
aller Beats einigende Strukturen. So gerät Amaryllis zu einem beeindruckenden Manifest musikalischer
Freiheiten: In blindem Verstehen entfaltet sich ein mild changierendes Feuerwerk brillanter Ideen, die bei
aller Ernsthaftigkeit doch herrlich unbeschwert erklingen. – Sven Thielmann, Stereoplay
Mit Amaryllis folgte die Rückkehr jenes großartigen amerikanischen Jazz-Trios, das 1997 mit Nothing Ever
Was, Anyway in Spitzenpositionen zahlreicher internationaler Jazz-Polls geführt worden war. Das Material
auf dem Album ist abwechselnd nachdenklich, berührend, ausgelassen und spannungsgeladen. Einige der
Stücke sind wohlbekannt – fast schon Klassiker des neuen Jazz –, darunter Crispells ”Rounds”, Peacocks
”Requiem” und ”December Wings“, Motians ”Conception Vessel”. Es gibt auch eine Reihe von inspirierten
frei improvisierten Balladen. Marilyn Crispell, die Bandleaderin, meint: ”Die Kommunikation ist profund
und von seltener Raffnesse.,” und die Interaktion zwischen den Musikern ist tatsächlich außergewöhnlich.
Das Magazin The Wire nannte die Gruppe in seiner Besprechung zum Album von 2001 „sicherlich eines
der großen Klaviertrios von heute.“ Amaryllis erscheint mit dieser Luminessence Reissue erstmals auf LP
und wird in einem 2-LP Tip-on Klappcover präsentiert.

Kaum eine Hardrock-Band hat in den letzten Jahren so abgeräumt wie die Ladies von THUNDERMOTHER! Ihr Album "Heat Wave" (2020) erreichte Platz 6 der deutschen Albumcharts (und später einen beeindruckenden Chart-Wiedereinstieg (Platz 16) mit der Erweiterung "Heat Wave Deluxe"). Nicht mal die Corona-Pandemie konnte die Band komplett ausbremsen und so spielte man u.a. Konzerte vom Dach eines Feuerwehr-Trucks. THUNDERMOTHER sind für die Bühne geboren, ihre energiegeladenen Liveshows muss man gesehen haben. Mit Ecken, Kanten, Attitude und einem feinen Händchen für große Melodien spielt sich die Band Schritt für Schritt Richtung Rock-Olymp. Und dieser kann nun, mit dem am 19.08.2022 erscheinenden neuen Album "Black And Gold", eingenommen werden. Die Band um Frontfrau Guernica Mancini fackelt ein wahres Hit-Feuerwerk ab. Die erste Single "Watch Out" sendete bereits die richtige Message: Achtung, hier sind THUNDERMOTHER und "Black And Gold" ist ihr Meisterwerk!

The Best of The Wailers’ was the debut album proper by Bob Marley & The Wailers, recorded for Leslie Kong - Jamaica’s most successful record producer of all time. These tapes were restored by Nick Robbins in London and assessed against all previous ‘The Best of The Wailers’ releases on vinyl.

'Thieves And Charlatans' is brilliant new chapter in the world of Cortez. This was phenomenal already with their debut and they get better and better with each new release. Don't miss out!

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Mord.
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Limited amount of part 16 of the Herdersmat series available now. This vinyl was previously available only by purchasing the full MORDH003. Generic black sleeve.

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Mord.
Morderstwo.
Rotterdam.
Herdersmat.

***Limited amount of part 31 of the Herdersmat series available now. This vinyl was previously available only by purchasing the full MORDH005. Generic black sleeve.

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Mord.
Morderstwo.
Rotterdam.
Herdersmat.
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Limited amount of part 17 of the Herdersmat series available now. This vinyl was previously available only by purchasing the full MORDH003. Generic black sleeve.

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Mord.
Morderstwo.
Rotterdam.
Herdersmat.

Limited amount of part 33 of the Herdersmat series available now. This vinyl was previously available only by purchasing the full MORDH005. Generic black sleeve.

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Mord.
Morderstwo.
Rotterdam.
Herdersmat.
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Limited amount of part 18 of the Herdersmat series available now. This vinyl was previously available only by purchasing the full MORDH003. Generic black sleeve.

Son House (1902-1988) was one of the initial pioneers and most important exponents of the Mississippi Delta blues.

A RADICAL HORIZON is comprised of a series of duets between cellist Lori Goldston and pianist Stefan Christoff, recorded on a late Fall afternoon in Brooklyn, NY. A conversation between friends, these improvised excursions reflect a willingness to be open to the spirits in the space and between the notes; a spirit of communion that, as Stefan writes, "guides and dances with our dialogue together".

Stefan Christoff is a Canadian musician, community organizer, and journalist based in Montreal, Quebec. He has collaborated with artists such as Sam Shalabi and Adriana Camacho, performs with his brother Jordan as a duo in Anarchist Mountains, and has released music on labels such as Moon Villain, Shimmering Moods, and Aural Canyon.

A lifelong community activist, he helped establish the Musicians For Palestine project and has engaged in street-level solidarity work in Lebanon and The Philippines as well as closer to home in Montreal. This is his second appearance on Beacon Sound after 'In Sofia', an album of piano improvisations recorded in Bulgaria, was released on the label in 2023.

Classically trained and rigorously de-trained, possessor of a restless, semi-feral spirit, Lori Goldston is a cellist, composer, improvisor, producer, writer and teacher from Seattle. Her voice as a cellist, amplified or acoustic, is full, textured, committed and original. A relentless inquirer, her work drifts freely across borders that separate genre, discipline, time and geography.

Current and former collaborators and/or bosses include Earth, Nirvana, Mirah, Jessika Kenney, Ilan Volkov, Eyvind Kang, Stuart Dempster, David Byrne, Terry Riley, Jherek Bischoff, Malcom Goldstein, Steve Von Till, Lonnie Holley, Cat Power, Ellen Fullman, Maya Dunietz, Mik Quantius, Embryo, O Paon, Tara Jane O’Neil, Natacha Atlas, Broken Water, Ed Pias, Christian Rizzo and Sophie Laly, Threnody Ensemble, Cynthia Hopkins, 33 Fainting Spells, Vanessa Renwick, Mark Mitchell, Lynn Shelton, and many more.

Her work has been commissioned by and/or performed at the Kennedy Center, Sydney Festival, Cineteca Nacional de México, Tectonics Festival, Frye Art Museum, Time Based Art Festival (TBA), WNYC, The New Foundation, Paris Fashion Week, Northwest Film Forum, On the Boards, Seattle International Film Festival, Seattle Jewish Film Festival, Bumbershoot, Crossing Border Festival, Boston’s Museum of Fine Arts, Joe’s Pub, the Stone, University of Chicago, and venues large and small throughout North America, Mexico, Australia, and Europe.

Bobbi Lu is the moniker of Lucy Ryan, born and raised in Oxfordshire in the UK, now living in Bruges after following love a few years ago. As a DIY bedroom producer, she’s released a handful of singles and is now ready with a debut album – ‘Arrow, Four’ – that will be out on 25 October. Drawing inspiration from acts like Radiohead, FKA Twigs, Jockstrap and Saya Grey, Bobbi Lu intertwines piano melodies with deep crunchy bass, electronica and samples, coming together in a dystopian and mysterious sound. As Ryan started gigging, she quickly attracted attention and went from supporting acts like The Haunted Youth and Sylvie Kreusch to playing her own headline shows and amazing festivals like The Great Escape (UK).

‘Arrow, Four’ is a collection of ten songs, written over the course of a few years, the process of each one completely different. “I guess the individual tracks have their own story, but in my head each story is just a symptom of a bigger theme, mostly inspired by the book Future Shock by Alvin Toffler. In it he talks about people’s ability to adapt having essentially a limit, and with growth accelerating could we be overloaded and experience a 'future shock'. And maybe that’s already happening, most notably in the form of mental health struggles.” “It made me think of how progression creates new challenges, an arrow going one way is pulled back by another in the opposite direction. I feel like it’s a topic more relevant than ever, especially with AI most recently. I think I use this topic to fuel my lyrics mainly as a way of forgiving myself and others, in those moments where we struggle and make mistakes, that we're all just doing our best in trying to keep up with a rapidly changing environment.” This is also reflected in the artwork by Maarten Derous. “It ties everything together. He came to me after listening to it and said something that came out for him was fragility, which at the time I completely did not think of. But he nailed it. It’s like, yes do it, be fragile and take it easy, it’s a pretty good answer to stuff being pulled in all directions.”

Limited LEMON Vinyl Edition

HOO - master builders of woozy dynamics, songs unfurl with a mysterious, hooky logic all their own to create deeply emotive, chaotic, cinematic and - surprisingly, with this album ‘III’ - indie pop tunes! Songs clocking in just over 2 or 3 minutes, driven by heavy grunge guitars & potty Moog magic, opening out at times during the breathtaking prog Ov Violence/ Evil Weeks and the epic gothy final track Method Papers. ‘III’ has been 10 years in the making and features friends Simon Rowe (Chapterhouse, Mojave 3), Ian McCutcheon (Mojave 3, Slowdive), Paul Blewett (Moon Attendant), Lee Lavender & long-time collaborator & award-winning folk artist Jackie Oates. The themes and feel of the songs meant they had to lay in wait in HOO’s church-like studio, patiently growing & spawning like a 70's Dr WHO monster. Newer songs like the almost indie disco Snake & Myself When I Am Real finally gave the album foundation. HOO songwriter Nick Holton explains “All my music, including stuff in the past with Coley Park & Neil Halstead (Slowdive), is made at home in my own studio ‘Oaki Room’, so they blend into one another and my broader life. This is why musicians like Paul Blewett, Ian McCutcheon and Simon Rowe are always in the band or on my records - because they are part of my life. I have always made music this way and intended to. Jackie’s beautiful lead on England Theme, a high for me, was a simple idea. A mirror, as is so much of what I write about, here pride and disappointment in your world. Politics, religion, conflict, human frailty & alien tentacles, the collapsing environment all feature heavily and inspire. Despite this, we aim to make these dark songs engaging & endearing, skipping about you at volume in a psychedelic fug.” “I cannot and will not explain what is going on, but ‘III’ definitely closes a door and feels the most complete work of my life” Holton concludes. ’III’ is playful, eccentric, explosive and shamelessly takes itself seriously. Finished and mastered by Heba Kadry (Beach House, Bjork, Slowdive). We hope you now enjoy HOO’s third album. “Highly recommended to those who dig cinematic dream pop & Krautrock.” Echoes & Dust “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo “Shoegaze guitars, space-folk synths, otherworldly drones & krautrock drums into soundscapes immersive, possibly hallucinogenic.” Uncut “Textural & cinematic guitar driven epic” Shindig “A place where you see shadows of ghosts and echoes of your imagination” HiFi World Highlights “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo feat ex-Slowdive & Coley Park

HOO - master builders of woozy dynamics, songs unfurl with a mysterious, hooky logic all their own to create deeply emotive, chaotic, cinematic and - surprisingly, with this album ‘III’ - indie pop tunes! Songs clocking in just over 2 or 3 minutes, driven by heavy grunge guitars & potty Moog magic, opening out at times during the breathtaking prog Ov Violence/ Evil Weeks and the epic gothy final track Method Papers. ‘III’ has been 10 years in the making and features friends Simon Rowe (Chapterhouse, Mojave 3), Ian McCutcheon (Mojave 3, Slowdive), Paul Blewett (Moon Attendant), Lee Lavender & long-time collaborator & award-winning folk artist Jackie Oates. The themes and feel of the songs meant they had to lay in wait in HOO’s church-like studio, patiently growing & spawning like a 70's Dr WHO monster. Newer songs like the almost indie disco Snake & Myself When I Am Real finally gave the album foundation. HOO songwriter Nick Holton explains “All my music, including stuff in the past with Coley Park & Neil Halstead (Slowdive), is made at home in my own studio ‘Oaki Room’, so they blend into one another and my broader life. This is why musicians like Paul Blewett, Ian McCutcheon and Simon Rowe are always in the band or on my records - because they are part of my life. I have always made music this way and intended to. Jackie’s beautiful lead on England Theme, a high for me, was a simple idea. A mirror, as is so much of what I write about, here pride and disappointment in your world. Politics, religion, conflict, human frailty & alien tentacles, the collapsing environment all feature heavily and inspire. Despite this, we aim to make these dark songs engaging & endearing, skipping about you at volume in a psychedelic fug.” “I cannot and will not explain what is going on, but ‘III’ definitely closes a door and feels the most complete work of my life” Holton concludes. ’III’ is playful, eccentric, explosive and shamelessly takes itself seriously. Finished and mastered by Heba Kadry (Beach House, Bjork, Slowdive). We hope you now enjoy HOO’s third album. “Highly recommended to those who dig cinematic dream pop & Krautrock.” Echoes & Dust “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo “Shoegaze guitars, space-folk synths, otherworldly drones & krautrock drums into soundscapes immersive, possibly hallucinogenic.” Uncut “Textural & cinematic guitar driven epic” Shindig “A place where you see shadows of ghosts and echoes of your imagination” HiFi World Highlights “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo feat ex-Slowdive & Coley Park

‘I Got What You Need’ is the statement from a troubadour coming into town to inform and entertain the people. Bearing songs of soul searching, of spiritual uplift, of tunes to groove to. Equipped with a powerful voice and stinging guitar the troubadour lays down his marker and backs up the statement. Two Times UK Blues Award winner Mississippi MacDonald has it all to play that troubadour as he presents his third album on APM Records. The gravelly Gospel tones on If I Could Only Hear My Mother Pray Again, and the imploring emotion on Your Dreams have MacDonald stretching out vocally. The former song in turn also showcasing another tour de force from regular backing vocalist Lucy Randall. Two self-penned instrumentals pay tribute; 3.35AM, to one of MacDonald’s prime influences Freddie King, and Soul City One to the in-house studio sound of Stax / MacDonald continues to be an excellent interpreter of southern soul and two more songs from the stable of Memphis studio and publishing house Ecko in Hard Luck and Trouble and the title track prove this. So too the band’s take on the R&B classic We’re Gonna Make It which in MacDonald’s hands really swings. Sinking is an epic ballad in which to lose yourself completely. The album is rich in variety, vibe and soulful energy. It’s MacDonald’s Blues and a whole lot more. MacDonald is a guest artist with the ‘Take Me To The River All Stars’, performing on stage at Red Rooster, filmed in session with Eric Gales and Jools Holland, and is filmed again at Royal Studios in Memphis on October 1st. MacDonald and band will perform at the UK Blues Challenge on October 8th, MacDonald is special guest of Visit Mississippi in Liverpool on October 18th when they unveil the first ever Blues Trail marker outside The Cavern. MacDonald will perform with Clarksdale veteran Super Chikan. International PR agent Blind Raccoon has been engaged to promote the new album. Last album ‘Heavy State Loving Blues’ was no. 1 on Roots Music Radio Contemporary Blues, no.1 on the IBBA chart for albums of the year 2023, and top 50 on the US Apple iTunes Blues chart, plus plays and a session on BBC Radio 2 Blues Show (Cerys Mathews). Live shows running up to end of March 2025. A singer/ songwriter from London who speaks quietly but makes music with real gravitas. A rising star since winning Traditional Blues Artist Of The Year and Acoustic Act of the Year at the 2024 UK Blues Awards. MacDonald has released two previous albums on APM Records. ‘Heavy State Loving Blues’ in 2023, and ‘Do Right Say Right’ in 2021- selected as a top 10 Blues album of the year in MOJO.

Lil Yachty und James Black veröffentlichen ihr kollaboratives Album ”Bad Cameo”!
Yachty und Blake beschreiben das Album als ambient, experimentell und anders als alles, was die beiden
zuvor gemacht haben. Yachty sagt,” ich glaube, James hat mit einer ganzen Reihe von Hip-Hop-Künstlern
zusammengearbeitet. Aber dieses Projekt ist für uns beide so einzigartig.“

NOW Music is proud to present the newest addition to the ‘Yearbook’ series: NOW – YEARBOOK 1982. 3 LPs of 44 defining tracks that ruled the charts in 1982.
Featuring number 1s, including ‘Eye Of The Tiger’ (Survivor), ‘Ebony And Ivory’ (Paul McCartney), ‘Town Called Malice’ (The Jam), and 1982’s biggest seller ‘Come On Eileen’ from Dexys Midnight Runners.
1982 saw the first huge hits from a wealth of new artists including Culture Club, Wham! and Tears For Fears, as well as an incredible line-up from artists who had established their chart presence in the prior 18 months and would produce some of the greatest tracks of the decade; Duran Duran, Spandau Ballet, ABC, Haircut 100, Soft Cell, The Human League, and a newly solo Adam Ant.
‘Fame’ was the TV phenomenon of the year, and Irene Cara’s theme from the original 1980 film enjoyed massive success.
As ABBA released their last singles for nearly 40 years, pure-pop from Bucks Fizz, Blondie, and Madness is celebrated alongside synth-pop gems from New Order, Simple Minds, Visage and Japan.
Leading artists from the punk scene enjoyed continued and renewed success, including The Stranglers, The Clash and Pretenders, whilst Foreigner, Meat Loaf with Cher, and Steve Miller Band provided radio-favourite rock and power ballads.
1982 saw a huge chart presence for dance music – from the hi-NRG of Boys Town Gang, to the electro-infused beats of Malcolm McLaren, and Rockers Revenge, the 1980’s disco of Shalamar, alongside soul classics from Marvin Gaye and Donna Summer… plus stellar ballads from Elton John, Lionel Richie, and Roxy Music.

Das dänische Hardrock-Quartett BLACK OAK COUNTY veröffentlicht sein drittes Album, das sie zu neuen musikalischen Horizonten führt, mit einer
breiten Mischung aus donnernden Breakdowns, eingängigeren Refrains als je zuvor, einer massiven Wand aus stampfenden Gitarrenriffs und einer
gefühlvollen Klavierballade. „III“ wurde gemeinsam mit dem dänischen Metal-Schwergewicht Nicklas Sonne (Defecto, Aries Descendant, dänische
Eurovisions-Vorentscheidungen) geschrieben und produziert, was sich als fruchtbare kreative Beziehung zwischen den beiden Parteien erwies. Das
Album markiert eine Rückkehr zur alten Form für die Band, die auf den Singles „Back For Blood“ und „It's On You“ von 2022 wieder mit
Gitarrist/Sänger Niels Beier zusammenkommt, der von dem ehemaligen Grammy-Nominierten Jacob Hansen (Volbeat, Asinhell) produziert und
zusammen mit Soren Andersen (Glenn Hughes, Mike Tramp) geschrieben wurde. Jetzt, wo sowohl Beier als auch Sänger/Bassist René Kristensen in
der Band singen, haben sich für die Rocker aus Esbjerg neue musikalische Türen geöffnet. Black Oak County haben tief in ihrem musikalischen
Ideenfundus gegraben, um eine breitere Palette von Songs als je zuvor zu entwickeln und dabei brandneue Ideen mit älterem Material aus den
Anfangstagen ihrer Karriere zu verbinden. „III“ ist ein energiegeladenes Album mit der bekannten Mischung aus hochintensiven, tief gestimmten
Riffs, die eine Hommage an ihre Metal- und Hardrock-Helden darstellen, gemischt mit modernen Mixing-Techniken, Synthesizern und einer frischen
Interpretation des vertrauten Sounds der Band

Das dänische Hardrock-Quartett BLACK OAK COUNTY veröffentlicht sein drittes Album, das sie zu neuen musikalischen Horizonten führt, mit einer
breiten Mischung aus donnernden Breakdowns, eingängigeren Refrains als je zuvor, einer massiven Wand aus stampfenden Gitarrenriffs und einer
gefühlvollen Klavierballade. „III“ wurde gemeinsam mit dem dänischen Metal-Schwergewicht Nicklas Sonne (Defecto, Aries Descendant, dänische
Eurovisions-Vorentscheidungen) geschrieben und produziert, was sich als fruchtbare kreative Beziehung zwischen den beiden Parteien erwies. Das
Album markiert eine Rückkehr zur alten Form für die Band, die auf den Singles „Back For Blood“ und „It's On You“ von 2022 wieder mit
Gitarrist/Sänger Niels Beier zusammenkommt, der von dem ehemaligen Grammy-Nominierten Jacob Hansen (Volbeat, Asinhell) produziert und
zusammen mit Soren Andersen (Glenn Hughes, Mike Tramp) geschrieben wurde. Jetzt, wo sowohl Beier als auch Sänger/Bassist René Kristensen in
der Band singen, haben sich für die Rocker aus Esbjerg neue musikalische Türen geöffnet. Black Oak County haben tief in ihrem musikalischen
Ideenfundus gegraben, um eine breitere Palette von Songs als je zuvor zu entwickeln und dabei brandneue Ideen mit älterem Material aus den
Anfangstagen ihrer Karriere zu verbinden. „III“ ist ein energiegeladenes Album mit der bekannten Mischung aus hochintensiven, tief gestimmten
Riffs, die eine Hommage an ihre Metal- und Hardrock-Helden darstellen, gemischt mit modernen Mixing-Techniken, Synthesizern und einer frischen
Interpretation des vertrauten Sounds der Band

Onsloow burst onto the Norwegian indie scene in 2022 with their self-titled debut album. They quickly transitioned from obscurity to performing concerts nationwide, garnering rave reviews, playing at festivals, and receiving increasing radio play with each new single. As is the case for many passionate amateurs with families and day jobs, this couldn’t last indefinitely. Vocalist Johanne Rimul became busy with her master’s degree and growing family, Mathias Nylenna returned to his regular job at national radio, and drummer Morten Samdal and bassist Lasse Berg pursued their own musical projects. But Onsloow wasn’t finished. They soon returned to their practice space in Trondheim, working tirelessly on new songs for over two years. The result is their second album, aptly named Full Speed Anywhere Else.

With Rimul’s commitments making further band activity impossible, Onsloow had to search for someone who could continue the band's signature sound—distinctive, melodic vocals atop jangly pop guitars and driving drums. Fortunately, Helene Brunæs, frontwoman of the emo/pop-punk sensation Lille Venn, jumped on board without hesitation. Despite her busy schedule with regular releases, a US tour, and gigs alongside pop stars like Sigrid, she found time to join Onsloow's ambitious plans. Her warm, airy vocals perfectly match Onsloow's universe of catchy power pop, quirky indie rock, and energetic pop-punk. The new album even features hints of country and Americana. Over several sessions with producer Marius Ergo, the album took shape, with the band focusing more on details and arrangements than ever before. The goal was to elevate their music beyond their self-titled debut album.

Full Speed Anywhere Else’s ten meticulously crafted tracks form a cohesive unit, allowing the band to explore various directions, moods, and expressions without losing their essence: straightforward, catchy power pop that sticks, with plenty of nuances for those who appreciate the finer points.

Selection of all winners from the Music Team label - mid 80s to early 90s gems on here!

One of South Africa’s biggest independent labels for more than a decade, Music Team offered working musicians a shot at fame via access to top studios, producers, songwriters and session musicians, as well as distribution via a number of imprints: CTV, Red Label, Solid, Spinna, Mambo Music and others. Artists in the stable who tasted success would typically release a few albums over as many years before moving on to other labels or falling off the radar as times changed. At their peak, according to label boss Maurice Horwitz, Music Team was selling a million records a month, and was at the forefront of South African pop music as it evolved from soul to disco and beyond.

Afrosynth Records’ ‘Music Team Sampler’ dusts off six rare and long-forgotten gems from the Music Team catalogue, originally released between 1986 and 1992. Four are typical of the label’s take on the popular ‘bubblegum’ sound of the day — Isaac ‘Cool Cat’ Mofokeng’s ‘Candy’, ‘I Won’t Let You Go’ by Linda Oliphant, Jappie Lebona’s ‘My Love is Yours and ‘Instant Love (Eyami Lendoda)’ by Thandi Zulu (aka TZ Junior). Two instrumentals — Mr. Ace’s ‘Ace 1’ and ‘Axe Chop’ by The Hard Workers, a studio project by Music Team’s in-house producer Tom Mkhize — meanwhile hint at the imminent rise of kwaito and house.

Forged in the fire of a cruel and volatile political system that was gradually unraveling, instead of addressing political realities these indelible pop songs sought to provide an escape to a world where love and music were all that mattered.

Opaque Mango Colored Vinyl. RIYL: Black Milk, Kendrick Lamar, Kamasi Washington, Mos Def, Blood Orange, Milo, Pharcyde, Blackalicious, Anderson Paak. Richmond, Virginia-based artist McKinley Dixon has always used his music as a tool for healing, exploring, and unpacking the Black experience in order to create stories for others like him. For My Mama And Anyone Who Look Like Her, Dixon's debut album on Spacebomb, is the culmination of a journey where heartbreak and introspection challenged him to adapt new ways of communicating physically and mentally, as well as across time and space. The language accessibility aspect of this project draws right back to communication and connecting," Dixon explains. "I think about the messaging, and how this can be a way for another Black person, someone who looks like me, to listen to this and process the past. Everything I've learned about communication for this album culminates with this bigger question about time. Is time linear when you're still healing and processing? Westerners look at time travel as something to conquer or control - it's a colonizer mindset. That's ignoring how time travel can be done through stories and non-verbal communication, and doesn't acknowledge how close indigenous people are to the land and the connections groups have because they've existed somewhere for so long. Storytelling is time travel, it's taking the listener to that place. Quick time travel. Magic." Never relying solely on beats, Dixon taps into a hybrid of jazz and rap, pulling in an array of piercing strings, soulful horns, percussion, and angelic vocalists throughout the album-plus features by Micah James, Lord Jah-Monte Ogbon, Pink Siifu, and more. Jazz instrumentals add a level of uncertainty, with the sounds and shifts evoking a lot of emotion and vulnerability. It's an energy he describes as "Pre-Kendrick Lamar To Pimp A Butterfly," the era when rap adopted more live instrumentation. The best way to sum up this album is: I was sad, I was mad, and now I'm alive," Dixon explains. "These things I talk about on the record have had harmful and brilliant effects on my timeline, and have forced me to be cognizant of the fact that living is complex. Rap has allowed me the language to communicate, and be someone who can communicate with people from all over. Knowing how far I've come, I think people will find trust in the message I'm sending."

Re-issue of this hyper rare single from 1978 on Whirl (West Indies Records Limited). George Clinton's Parliament getting funked up in the Caribbean. TIP!

The Outfit was one of the funkiest bands ever coming from The Caribbean. They showed (together with other top bands from Barbados like The BRC or The Organization) the potential of Spouge music and the many creative possibilities that this genre can lead to.

This single is one of the finest examples of Spouge and Funk blended perfectly together in an explosive, ultra funky cover of the Parliament's "Dr. Funkenstein", titled for the occasion "Dr. Spougenstien". Despite being an extremely rare single, this song used to be quite popular in Barbados, to the point where most people on the Island used to think this was an original song. B side "Theme From Peter Gunn" serves up a punchy and groovy Cosmic disco tune on the very popular Theme from the Peter Gunn tv show.

This single is proposed to you as a first issue on the newly born Lava On Wax Records, started by Dj and Collector Matteo Fava, who have been to Barbados multiple times and works together with former Wirl label since 2020. The release has been possible thanks to help of GUTS from France, who worked since the start of this project to the end in close collaboration with Matteo. Here is what he has to say about this release: " Lava on Wax , It's putting love into old things to make them new with conscience and respect "

Vanille fraise, iconic title of the French sextet L'Impératrice, is released on vinyl for the first time for Record Day ! Born from a radio edit for a DJ set in 2015, the title is an immediate and dazzling success, with more than 60M streams. The music video was released a year later, showing a game of tennis on a sunny day and reached 10M views in 2021. Vanille fraise, top title of the Parisian group, is now available on vinyl. This release follows their second album Tako Tsubo in March 2021.

‘Ayo Ke Disco’ (meaning ‘Let’s go to the disco’ in Malay
and Indonesian) celebrates the musical identities
emerging from the newly independent countries in
South-East Asia during the 1970s and 80s.
Soundway general manager Alice Whittington, aka
Norsicaa (DJ), selects 10 deep cuts from local labels,
officially reissued on vinyl for the first time – forming a
snapshot of the vibrant discotheques and live scenes
across Indonesia, Singapore, Thailand, Malaysia, Hong
Kong and the Philippines.

The artists featured here were known for exploring
traditional sounds alongside funk, disco, city-pop and
even political psych-rock, genres that were indicative
of the exciting but often turbulent period. But despite
the post-war backdrop of instability there came
unprecedented levels of economic prosperity. With a
hopeful buzz filling the air, the music scene was helping
lead the way in reshaping the new identities of the
region.
OVERVIEW:
FOR FANS OF:
Sound of Siam compilations, Priscilla Chan, Lovin’ Mighty
Fire compilation, Tanamur City compilation

Reloading, revamping, reinstalling - we've peered under the hood of last year's singles, Your Life and Take It, and decided they required the peak-time-remix-alignment. While Your Life's refix was self-inflicted by Patrick, Take It required the expertise of frequent collaborator Physical Therapy. Both reworks maintain the originals' essence, while bringing higher BPMs, weightier subs, and jacked up percussion to the table. Test driven during the summer of '24, this package is ready to rip.

Zero 7 were formed in 1997 by producers Henry Binns and Sam Hardaker. In 2001 their debut album Simple Things was released selling over a million copies to date and was nominated for the Mercury Music Prize. They released their second album When It Falls in 2004.
When it was originally released, When It Falls was a UK Top 10 album, peaking at no.4 in the UK album charts and spent 24 weeks in total in the charts. It has sold over a quarter of a million copies. Stateside the album entered the Billboard Dance/Electronic chart at #3 and stayed in the Top 20 of that chart for almost thirteen months.

Singles taken from the original album include Home featuring Tina Dico, and Warm Sounds featuring Mozez. Sia and Sophie Barker also feature on the album, with tracks such as Somersault (a UK Top 100 single), In Time and Speed Dial No. 2.

This special run of coloured vinyl (transparent orange (A/B side) & green (C/D side) celebrates the albums 20th anniversary. It uses the original artwork but now pressed on heavyweight colour 180g vinyl. Cutting is by engineer Kevin Metcalfe using his original cutting notes.

When It Falls is a timelessly classic album from a seminal electronic band and the essential soundtrack to any laidback chilling.

Repress!

Post Punk inspired heat from London's Moin. TIP!

Moin is made of Joe Andrews and Tom Halstead (Raime / Blackest Ever Black) as well as long time collaborator and percussionist visionary Valentina Magaletti (Tomaga / Vanishing Twin). A serendipitous conversation brought the project to life. The band say simply: “The record was made as an experiment really, it felt like the right time to play on the fringes of this kind of music. The priority was to be direct at first and then change the edges perhaps. Make something to experience rather than something as a spectacle.”

Moot! a quick and painless album to create, allowed the musicians to re-appreciate the recording process, using a combination of live recording and studio techniques. As Andrews, Halstead and Magaletti come together as Moin, they’re freed from any past inhibitions or self-made parameters to explore uncharted territory. The album spans psychedelia, alternative rock and post-punk mixed with their signature electronics and sampling practice.

The band conclude: “All of this sounds very matter of fact, which is correct. It’s immediate music that isn’t pretending to be anything but.”

'Hollywood' is Andreas Raser debut album. After their single releases 'Willow' 'Reignite' and 'Spent' the LA-Hamburg band will release their first vinyl on Polly Records.

Andreas Raser consists of Camille Clair, from Los Angeles, and Albert Dietrich, from Hamburg, who first started making music together in 2020 while studying art in Frankfurt am Main, Germany. Their debut album "Hollywood" was recorded in the school, and realized simultaneously with a collaborative visual arts practice. Andreas Raser is currently based in Vienna, Austria. They recently had their live debut opening 3 show for Bar Italia.

This killer double-sider was one of the first US imports to go “big” on the rare soul scene at the Twisted Wheel and Blackpool Mecca in the early 70s.

Having established a legacy as one of the most highly regarded contemporary UK Jazz musicians of the past decade, Newham-based pianist Alfa Mist’s discography boasts such stone cold classics as ‘Antiphon’ ‘Bring Backs’ and ‘Nocturne’. Alfa is yet to be boxed into a specific genre as his music spans everything from hip-hop beat-making to producing for artists such as rapper Loyle Carner, composing neo-classical works for the London Contemporary Orchestra, and reworking tracks from composer Ólafur Arnalds and pioneering jazz label Blue Note, not to mention his collaborations with the likes of Jordan Rakei, Tom Misch and drummer Richard Spaven, producer Lester Duval and singer Emmavie.

Now unveiling his next offering, Alfa revisits his stellar 2024 performance with Manchester’s extraordinary string outfit Amika Quartet at heralded venue Kings Place (London), capturing the magic of the evening within this awe-inspiring live album. Featuring a handful of brand new, never-before-heard tracks (alongside a number of expansions of previous releases), ‘Recurring’ sees Alfa drawing inspiration from classic live Jazz recordings, capturing a unique moment in time that can never be replicated or replayed. Creating an authentic, unpolished and electric feel, feeding his long-running mission of real-time musical expressions that evolve with each performance. On the genesis of the record, Alfa says: ‘Some of my favourite albums are captured live performances. I came home from a long year of touring and decided to work on some music for Amika Quartet who I've been working with for years on a few different shows and projects. A lot of the music I release is recorded in whole takes, I think there's something nice about doing the best you can with the moments you have. I wanted to take that one step further by recording it as a live show and seeing what happens.'’

Due for release via Alfa’s own Sekito Records imprint, a potent, raw and spontaneous energy permeates the release. Marking his first project with a full string arrangement, the iconic Kings Place venue’s reputation for spectacular acoustics, as well as intimate setting made an ideal location for the live recording. The decision to record in a live venue rather than a studio was driven by Alfa’s desire to push beyond his comfort zone and explore new creative territories. On first single ‘Checkpoint’, Alfa also takes to the microphone, breaking away from his usual introspective lyrical style to make comments on the current state of the world. He explains: “ 'I've written lyrics before but this is the first time I've ever tried to write a poem and it ended up being about the double standards of violence we see in this world everyday”. This offering is a testament to Alfa’s continuous evolution as an artist, blending his introspective lyric with broader societal observations, all while maintaining the improvisational spirit of jazz.

Pink Martini’s illustrious “Little Orchestra” joins forces with Hollywood Legend, Mamie Van Doren, in an enchanting duo set of throwback singles. “I Told Ya I Love Ya Now Get Out” brings a buoyant beat to a shockingly delightful breakup track. Mamie revisits “Ich dich liebe” after first singing it in the 1964 Spaghetti Western film Freddy and the Song of the Prairie and somehow it’s as transporting now as it was then. Building on her already incredible legacy, Van Doren brings a fantastic energy to these tracks, which she recorded with Pink Martini in her early 90s, injecting her quintessential charm and verve into the vocals, which interweave perfectly into the rich and glamorous sound of Pink Martini.Ads and reviews in R" and London Macadam.

Brunson debuts on Rekids Special Projects with ‘Intimacy Between Friends’. Discovered in a Mike Banks interview by Benji B, ‘Intimacy Between Friends’ releases on RSPX 18th October.

Brunson’s ‘Intimacy Between Friends’ EP on Rekids Special Projects kicks off with 'Aminal'. Originally discovered via a 2017 BBC Radio 1 interview between Benji B and Underground Resistance co-founder Mike Banks, ‘Aminal’ was played on the show and subsequently sought out by Matt Edwards for release on RSPX in 2024 as part of the ‘Intimacy Between Friends’ EP.

‘Aminal’ by Brunson is a ten-minute odyssey into atmospheric deep techno. Wiggling acidic synth motifs and warm, radiant pads bring the soul to a tight groove, constantly evolving and allowing you to sink ever deeper into majestic chords which wash over you like rays of sunlight. Brunson’s 'My Friend Ryan' is another classic Detroit sound with machine warmth and energetic drum programming, which all work together to make you move your body while your heart is enriched by its vibrant soundscape.

Brunson released his first EP in 2023 via Berlin’s Tresor Recordings but has been active for a number of years before this as a Midwest American and Motor City producer while being the VJ behind Juan Atkins’ Model 500 shows. He now releases the ‘Intimacy Between Friends’ on Radio Slave’s Rekids Special Projects, already supported by artists such as Luke Slater, Laurent Garnier, and Jerome Sydenham.

Fronted by former South London lovers rock vocal harmony group, Alpha (sisters Jackie & Jean Heron and Marlene Richardson), Take Three was the brain-child of writer/producer trio "S.H.E." - Steve Sinclair, Peter Hinds & Kevin Ellis.

Meeting each other at The Factory community centre in Paddington (now known as the Yaa Asantewa centre and in the last few years, The Yaa Centre) Steve & Kevin began a partnership writing and directing their own theatre productions as part of The Black Theatre Co-Op, which called the centre home at the time. When a song they had written together for one of their productions received praise and plaudits, the path toward writing and producing records began, bringing in more seasoned hand Peter Hinds - formerly a member of key brit funk groups Light of the World and Beggar & Co, and player with Incognito, Imagination & Loose Ends - to complete the circle.

Take Three represented the first project for a creative partnership that would spawn multiple projects/aliases spanning the UK soul, funk & dance scenes, and still continues to this day. With this compilation we showcase for the first time the group's combined output as Take Three, complete with previously unreleased material.

Studio 1/11 – Schwarz

Beside GAS, Studio 1 is probably the most known project within Wolfgang Voigt’s oeuvre. The series, comprising ten vinyl-releases and one CD-compilation, was brought into being in 1995 and is - until today - known as one of the most important conceptual precursors of Minimal Techno.

The formally strict but highly memorable series of ten maxis without individual titles, whose covers only distinguish themselves by the chosen colour gained international attention, even far beyond the techno discourse.

In the context of the latest mammoth project »EARQUAKE – Wolfgang Voigt 1991-1999«, a comprehensive digital new-, respectively initial release of Voigt’s almost entire musical work of the 1990s, there are also some so far unpublished pieces going to be released on vinyl. So is the maxi-single »Studio 1/11 – Schwarz« from 1997, which - in respect of its sound and vision - assimilates seamlessly in the so far known series. A collector’s item.

Studio 1 ist neben GAS das wohl bekanntestes Projekt im Gesamtwerk von Wolfgang Voigt. Die 10 Vinyl-Veröffentlichungen und eine CD-Compilation umfassende Reihe wurde im Jahr 1995 ins Leben gerufen und gilt bis Heute als einer der wichtigsten konzeptionellen Vorläufer des späteren Minimal Techno.

Die formal strenge Serie aus 10 Maxis ohne individuelle Titel, deren Cover sich nur durch die gewählte Farbe unterschieden, erlangte - nicht nur durch den hohen Wiedererkennungswert - internationale Aufmerksamkeit, die weit über den Techno-Diskurs hinaus ging. Im Kontext des aktuellen Mammut-Projektes »EARQUAKE – Wolfgang Voigt 1991-1999«, einer umfassenden digitalen Neu- bzw. Erstveröffentlichung von Voigts nahezu gesamten musikalischen Schaffen der 90er Jahre, werden auch einige bisher unveröffentlichte Stücke auf Vinyl erscheinen. So auch die drei Stücke umfassende Maxi »Studio 1/11 – Schwarz« aus dem Jahr 1997, die sich in Sachen „Sound & Vision“ nahtlos in die bislang bekannte Reihe einfügt. Ein Sammlerstück.

Orphx, Rrose, SHXCXCHCXSH & kareem remixing SOLARIS from kareems 1997 release CICLOP (Zhark00004)

CICLOP was released in 1997 combining a variety of different approaches ranging from Industrial Hip Hop and cinematic ambience to DubTechno. SOLARIS stood out with brutally stripped down minimalism.

Zhark0040 now assembles 4unique remixes of SOLARIS

8 years after the official reissue of the LP “An Eye For An Eye” by Byrne & Barnes, Favorite Recordings proudly presents this new single release.
The 7inch first includes the classic “Love You Out Of Your Mind”, extracted from the WestCoast classic LP, which was a one-stop collaboration between Robert Byrne and Brendan Barnes, however both display incredible music career and went on to produce for famous artists such as Pointer Sisters, Patti Austin, Earth Wind & Fire, or Phil Collins to name just a few. The song parades all the elements of the AOR style: a jazzy sometimes fusion approach, with modern soul and groove flavors.
The other side features an exclusive and unreleased track by Robert Byrne, dug by the original executive producer up in his archives for our great pleasure. “Do You Wanna Make Some Love” is also nurtured with Westcoast and AOR vibes, while leering to Boogie and Disco influences. We have no doubt it will delight all the Byrne & Barnes music lovers and many more.

DJ support from Soul Clap, Walla P (Voyage Funktastique), Dam Funk

The original version of 'Serious' was included on Kazzey's 2022 album Voyage. The collaboration between him & LA modern funk mainstay XL Middleton became a favorite in the street dance scene, soon becoming used in innumerable videos & dance battles internationally. It also found its way into heavy club rotation thanks to forward-thinking DJ's who include the modern funk sound in their sets, from the west coast of the US, to Japan, and back to Kazzey's native France. Now, the track is finally being pressed on vinyl and included on the b-side is a bonus remix (the 'Midnight Drift Remix') bringing a silkier, late-night edge to this certifiable dance floor filler.

Music video premiering 2 October 2024.

Included on Spotify's 'Nu-Funk' playlist, garnering nearly 700,000 streams on Spotify alone

2024 Repress

Medical Records releases the first full length LP in 5 years by LA's Geneva Jacuzzi. To say Jacuzzi is a multifaceted artist would be an understatement. She is well known for her uncompromisingly obtuse synth-driven pop and one-of-a-kind performance art that is comprised of one time only spectacles and installations. Her works have been presented in famous art institutions such as the Museum of Contemporary Art, MOCA and numerous other venues across the globe. She has developed a very focused cult following in the art AND music scenes. She was originally well known for her multitude of self-released home recordings but also released a full length Lamaze in 2010 on the Vinyl International to much acclaim. Not to mention her track The Sleep Room featured on The Minimal Wave Tapes Vol 2. Technophelia is the culmination of a hybrid of DIY and professional studio recordings (with the help of esteemed producer Chris Coady) that resulted in this exquisite album. Features the soon-to-be-hits I'm A TV and Cannibal Babies. Lovers of unique and left-field wave such as Gina X, Ronny, and the like will be transfixed by the raw, oozing newness of it all. All tracks recorded/performed by Geneva Jacuzzi with additional production by Chris Coady at Sunset Sound Studios. Mastered by Josh Bonati. Presented on high-quality 180gram heavyweight white vinyl.

"New York Hip Hop revolutionaries Ced-Gee, Kool Keith, Moe Luv and T.R. Love, known as Ultramagnetic Mc’s dropped their seminal debut album Critical Beatdown in 198 Immediately grabbing the attention and pushing the boundaries of hip hop into new horizons, it was hailed as a masterpiece by the underground. Influential hip hop magazines The Source and Hip Hop Connection both listed Critical Beatdown in their Top 100 charts, naming it one of the best 100 hip hop albums ever. The 1986 single “Ego Trippin” is one of the first tracks to use the SP1200 drum machine (programmed by producer Ced-Gee), and the SP1200 would later become the golden standard for many hip hop producers. This expanded edition features not only the original album with the 15 tracks, but it also includes 6 bonus tracks: the original 12” versions of “Funky”, “Bait”, “A Chorus Line” featuring Tim Dog, “Mentally Mad” plus “Traveling at the Speed of Thought (Hip House Club Mix)” and “Ego Trippin (Bonus Beats)”. Don't miss out on the opportunity to catch them live as they are touring the globe again. Critical Beatdown (Expanded Edition) is available as a limited edition of 2000 individually numbered copies on green coloured vinyl. It also contains a 4-page booklet with interviews, rare photos and liner notes. "

Critical Beatdown by Ultramagnetic Mc's, released 23 February 2024, includes the following tracks: "Ego Trippin (Original 12” Version)", "Kool Keith Housing Things", "Feelin’ It", "Ain’t it Good to You" and more.

This version of Critical Beatdown comes as a 2xLP. This release comes with (a) Booklet & Insert(s).

The vinyl is pressed as a green disc. Another vinyl is pressed as a

2024 Repress

All in that stark contrast between ethereal spaciousness and steely, martial rhythms out the industrial spectrum, 'Far Field' takes us on a voyage across the board, from breaks-heavy machine stunts to washed-out tapestries, via EBM-laced detours and junglistic maneuvers. Investigating the nexus zone between dance functionality and limitless escapology, it extrapolates both artists' blends to further immersive, hypnotic effect. Taking over the A side, .VRIL gets the ball rolling with 'Lost Together', which sets the tone on a low-slung, nostalgia-drenched note; combining the syncopated swagger of downtempo techno with ambient-oid stasis and static-filled opacity. Like watching an all-metal sun sinking past the blazing skyline. Revving up the engines, 'Fnord' feat. RAeYN conjures up a way more muscular arsenal of big-room-ready wares, from aggro snare salvos to anthemic synth kinetics, through that replicant-hunting kinda vibe. One to have the Saturn rings go hula hoop, with all woofers and brains in the vicinity melting in XTC. Shutting the A side off, 'We Believe' returns to a lighter, more vaporous mindset but sure implements that signature heavy swing of .VRIL, flush with textured kicks and FX-soaked arps. True monster prog swell. Flip it over and there's HVL dishing out a textbook example of his vortical electronic furls with the title-track, 'Far Field' - an oneiric drift that slowly rises from its heavy-lidded slumber, ascending towards bleepin' n bloopin' experimental effervescence as bars fly by. A number bound to hack your body and mind into two distinct facets, and while one dances its way frantically across the ever buzzing space/time continuum, the other shall reach a state of healing calm and transcending ubiquity. Smoothly shuttling us off to the upper layers of the ionosphere, 'Lancet Mxi' clenches it on a trippy note, taxiing us midway zero-G UK bass territories and eerie ambient abstraction. HVL's total, widescreen vision at its most unhindered, all set at expanding your mind to yet uncharted horizons of sound and closing the gap between two distant, estranged galaxies. A fractured headspace to both dance and dream to. *Dressed in a fine piece of artwork courtesy of Daniel M. Diaz, 'RYCL021' comes pressed on 180g audiophile black vinyl for optimal playing and listening experience.

RAWAX prouldy welcomes DJ MoReese to the Family! DJ Mo Reese excites crowds with his unique brand of House music.

A Detroit native, his music is steeped in the tradition of his hometown and blended with his own soulful, funky style.

We are very happy to present you his great release, called S51 EP on HOUSEWAX early October.
Highly recommended!

The Check In brings us 006 by Duncan Thomas. Anyone operating in the world of deep minimal groovers have heard the whispers and tales of his genuinely unique grooves, blurring the lines of deep and soulful to light-hearted and bouncy.

Hard synth stabs and a punchy drum grooves open the EP through the A1 Espresso Tonic, a deep roller which is seductively euphoric. Then into Movin’ To The Sound which brings out the jazzy side of Duncan Thomas with synth licks and floaty chord progressions.

Flip over and you land on See You Never which leans to the festival forrest with heavy swing, a driving lead and laser sounding synth chords. Followed by the B2 Hello Out There which closes off the EP and is easily the most soulful of the four cuts. The repeating chord stabs are undoubtedly nostalgic and the bass-line routes the nostalgia to the dancefloor. This is a sunrise groove if ever there was one

It's a UK thing, they say. However, halftime and Jungle are dubbed internationally since ages. Positive vibes are killing borders all over the globe.

Members of Champion Sound met while playing in Reggae bands in Moscow. Neekeetone was drumming, Koondoongoo is still playing bass. A bit later they ran into Distant Roots while DJing at Dub Raw Camp, a bass family festival in the north of Caucasus.

When the 45Seven label and its sounds started to flourish, it gave instant inspiration to them Champions, resulting in nothing less than the two bombs you will hear on this very plate.

Gun Fevah is cultivating splashy halftime snares spiced with jungley layers, embedded between classic horns and skanks.

Wise Man steps up Sesame's Treat wise with vibes hailing from far away over a lush bassline that could roll on forever.

This seven looks back to the imaginary roots of these 45s as well as making way for a bright future of Dubby Jungle!

Making his debut on Gated, Bristol-based Wiles brings the breaks across four tough but emotive tracks.
Wiles is a professional sound engineer who came up in the Norfolk electro and free party scene in the 2000s. During the lockdowns in 2020 he crystalised a live hardware setup that eventually became an EP for Batrachian.
But with Yellow Light he takes his sound even further, with washes of spaced out melodicism underpinned by punches of sub-bass and classic rave breaks, intricately programmed and devastating on a dancefloor at the right moment.
It’s atmospheric stuff for sure, with one eye on the future but rooted in the timeless dancefloor expressions of the past.

Slow paced drums with offbeats softly phased with the guitar, misty takeoffs from the synthesizer: a hazy idyll is starting off on the road to the rocket festival (bun bang fai). Answering each other on the responsive mode of the lam soeng, Sothipong engages in a flirt but Oulay Vanh is not ready to trifle with just anybody.

As a stylistic variation of a popular Lao musical genre, the lam soeng was the source of several themes among which the “bang fai” - which is part of the Lao conciliatory festivities preceding the rainy season - remains one of the most renowned.

However, the producer and composer of these songs, Sothy, created an unusual arrangement: the instrumental introduction separates from the sang canon, the synthetic mix is stripped down of the traditional organology - everything here becomes unsettling for a listener familiar with the genre.

Everything comes with a reason: the record was edited in 1981 under the title Sothy Productions yet produced in France by the Parisian label Oxygène (famously known for its unforgettable first French punk compilation 125 grammes de 33 1/3 tours). Chansons Laotiennes still remains hard to classify.

And then who’s Sothy? Along with the unverifiable identity of the seemingly Laotian singers, skepticism gains ground concerning the man behind the pseudonym. Is he an escaped musician from one of the first Cambodian rock bands of the 1960s? A surviving producer from the 1980s Paris? Or a composer in transit in one of the many places of the Laotian diaspora? Sothy eludes any researches and disappears behind his numerous homonyms.

The second track is just as enigmatic: a beat box, a lightly reverberated voice as well as a guitar solo and a small synthesizer break, “Tuei” or “Tawai” offering (as the writing on the record suggests) makes way to dancing step and a truly joyful melody. Twisted and lively steps on a romantic background tune turn this second track into a genuine paslop - a program recommended by therapists to relieve muscular pains due to seated positions: you will unlock your pelvis with some synchronized Laotian choreographies.

For their first edits, Akuphone called on a young Parisian producer. Shelter, aka Alan Briand, mingles his own mixes and electro productions with a large variety of influences and styles: krautrock, disco, traditional music, psychedelic, synth pop, ambient, bossa nova, Japanese funk. He produces both original compositions and remix.

Das Debütalbum des Künstlers Andrzej Steinbach „Portal“ enthält zwei Musikstücke, „Wartehalle“ und „Behörde“, die er Anfang 2024 in Mono im Leopold-Hoesch-Museum Düren aufgenommen hat. Dafür hat Steinbach ein Objekt („Ohne Titel (Zarge aus einer ehemaligen Behörde), 2020“) aus seiner Sammlung zu einem Instrument umfunktioniert. An den metallischen Türrahmen wurde ein Kontaktmikrofon angebracht, das die Eigenschwingungen der Zarge durch einen Verstärker und einen Schallwandler in einer Feedbackschleife zurückgibt. Mit einem zwischengeschalteten Mixer war es Steinbach möglich diese Aufladungen direkt anzusteuern und den Türrahmen in einer Art „Free Industrial Jazz“ zu spielen. In situ entstanden die beiden experimentellen Tracks „Wartehalle“ und „Behörde“, deren klanglichen Charakter Waltraud Blischke u.a. so beschreibt: „Was auf Vinyl mit Glockengeläut von außen und vibrierendem Crescendo durch Schwingungen im Inneren beginnt, diffundiert bald als Feedback, verwandelt stehende Wellen in Klänge von Nebelhörnern. (...) Eine Art rudimentäre Sprache steigt über verschiedene Stimmlagen hinauf, wirkt über Distanzen hinweg drohend, mal launisch wie ein durchnässter Kontrabass, verweilt im rhythmischen, elektrostatischen Knistern, rattert wie ein Relikt frühindustrieller Maschinerie mit Schlagzeug im Gedärm.“ Und damit rüttelt auch „Portal“ – wie alle Arbeiten Steinbachs, die im Rahmen seiner Ausstellung „Unkenntliches Metall“ vom 29.9.2024 - 19.01.2025 im Leopold-Hoesch-Museum Düren gezeigt werden – an den Festschreibungen und Sicherheiten unseres durchstrukturierten Alltags.

The poet, producer and visual artist Ramuntcho Matta is coming back to music with 96. 96 – as 96 hours were needed to record this new album. Ramuntcho points out that behind this dazzling recording, years of experience enabled him to achieve the mix of spontaneity and intimacy of the album.

He was the man behind the success of Eli Medeiros’ Toi mon toit. As a matter of fact, Ramuntcho Matta likes to put artists in the spotlight, as he has done with Brion Gysin, Don Cherry and many others. However this time he decided to put himself in the spotlight, with this record which sounds very 90s – with a wink to Bill Laswell for the bass – but still very contemporary. The album unveils a dark atmosphere, as if Bashung had lost himself in a Lynch film.

Alongside the album release, Ramuntcho Matta and Akuphone have decided to make the entire discography of the artist available on Bandcamp. Each Friday since the beginning of this year, an album has been put online and made available for listening and downloading.

Record sleeve designed by Ramuntcho Matta. Unpublished notes and drawings from the artist’s logbook « Desseins du jour ». Downloading code

On Maza Gusu, Mikado Koko transforms into Mother Goose, hissing Perrault's fairy tales from her native tongue in your ears. Her unsettling, regressive voice is backed up by a subtle and chilling electronic soundscape sprinkled with traditional Japanese instruments, creating a realm of sound that feels both weirdly familiar and deeply unknown. Mother Koko hurls you deep down the rabbit hole, back to your darkest childhood anguishes, before gently leading you by the hand to a joyful catharsis. As you slowly get used to its disturbing familiarity, Koko’s music feels like waking up in the pale morning light, shaky but relieved after a feverish dream.

In summer 2017 Mikado Koko started her solo career as a club music producer with the elements of Japanese traditional music. After many releases, remixes and compilations such as Seitō: In the Beginning, Woman Was the Sun (AKU1016), she now focuses on avant-garde poetry reading related to feminism and gender equality.

"The acclaimed 2007 album reissued on 1LP clear vinyl. Taken from the original 2007 masters when Pete Doherty was at the pinnacle of his creative powers, ‘Shotter’s Nation’ followed in the footsteps 'Down In Albion’, the band’s debut album, and Doherty’s first album outside of his first band - the era-defining Libertines. Both were met with commercial and critical acclaim, breaking into the top 10 of the album charts.

‘Shotter’s Nation’ is unmistakably Doherty. Melodic, stark, catchy, raw, brilliantly unique - his music has always created an unflappable loyalty from his many fans, remaining timeless, yet still sending a nostalgic excitement through its listeners. The album also features four songs co-written by Doherty’s then-girlfriend Kate Moss who also regularly performed live with them.

The approach to the recording and release of the album was an escape from Doherty’s previous methods. Stephen Street (The Smiths, Blur, Morrissey, The Cranberries) took over producer duties from The Clash's Mick Jones, and it was and his first album released by a major label, Parlophone."

"One of the most iconic groups of the late 20th century, Dire Straits established their timeless sound from the
moment they first appeared on the London gig circuit, in 1977. With faultless musicianship and memorable songs
that quickly connected with music lovers, it was clear the group would set their own path, proving that, even amid
the new-wave era, classic songwriting would never go out of fashion.
After three years of relentless hard work, touring, writing and recording their music, the group entered the 1980s
well on their way to becoming the biggest-selling band in the world. That year’s Making Movies album would also
make its presence felt on the silver screen, thanks to the inclusion of the UK No.8 single ‘Romeo And Juliet’ – later
used in films such as Empire Records, Hot Fuzz and I, Tonya – and live favourite ‘Tunnel Of Love’, which featured in
the 1982 Richard Gere film, An Officer and a Gentleman. Dire Straits’ frontman, Mark Knopfler, would later explain
to The Times how satisfying it was to write ‘Tunnel Of Love’: “It’s the moment when you know you’re really on to
something,” he said. “There’s a certain part of the song that I call the breakdown and when I got there I could feel
the drums, the piano, all the things that I wanted all the instruments to do. When you get to that state, there’s a
strange sense of one thing following another, of elements falling into place quite naturally.”
Paying extra attention to those elements, this half-speed master of Making Movies has been overseen by Miles
Showell at Abbey Road Studios, in London, resulting in a cut that has a superior high-frequency response (treble)
and very solid and stable stereo images. Pressed on 180g vinyl, it comes with alternative artwork that swaps the
red and the blue of the original album sleeve, plus a printed inner sleeve, a “Half-Speed Master”-branded obi-strip
and an Abbey Road certificate of authenticity.
"

"The first album to take UB40 to the top of the UK charts, 1983’s Labour of Love followed a stunning run
that had seen the group’s previous three albums go Top 5 alongside eight UK Top 40 singles. With their
cover of Neil Diamond’s ‘Red Red Wine’ making the No.1 spot ahead of the album’s release, the group
had perfectly set the stage for their first-ever collection of cover versions.
Spawning a further three UK hits in the shape of ‘Please Don’t Make Me Cry’ (UK No.10), ‘Many Rivers to
Cross’ (UK No.16) and ‘Cherry Oh Baby’ (UK No.12), Labour of Love also inspired four sequels: 1989’s
Labour of Love II (UK No.3), 1998’s Labour of Love III (UK No.8), 2010’s Labour of Love IV (UK No.24) and
2018’s A Real Labour of Love (UK No.2), the latter of which was credited to UB40 Featuring Ali, Astro &
Mickey. A crucial part of British reggae history, the original Labour of Love saw all the hard work pay off
for this much-loved outfit, and it now returns to vinyl in an exclusive blue pressing.

"

"A mere two years on from their formation in London towards the end of 2007, Mumford & Sons released their
debut album, Sigh No More. Introducing the group’s signature blend of folk and rock music with heartfelt lyrics and
soulful melodies, the album was instrumental in propelling the folk-rock resurgence into the mainstream at the
end of the 2000s.
Peaking at No.2 in both the UK and the US, and winning British Album of the Year at the 2011 BRIT Awards, Sigh No
More paved the way for a career that has seen the group release three further acclaimed albums, scooping up a
second BRIT Award, plus two Grammys and an Ivor Novello, along the way. The group’s lasting impact on the music
industry can be traced back to this record – now reissued on ultra-clear vinyl for National Album Day – and its
game-changing singles, among them ‘Little Lion Man’ and ‘The Cave’, which have, respectively, reached nearly 45
million and more than 20 million streams this year alone.
"

Certified Silver by the BPI, Warnings/Promises was the band’s fourth album and their second to break into the Top 10 following the success of their previous album, The Remote Part. After the release of The Remote Part, the band had a change in personnel with Gavin Fox replacing bassist Bob Fairfoull and touring guitarist Allan Stewart became a permanent member.

Warnings/Promises saw them take a different approach to the writing process, involving the whole band for the first time with a sound that marked a shift towards melodic rock as well as contemporary folk. A more stripped back sound than their previous albums, it featured the singles I Understand It, El Capitan and lead single, Love Steals Us From Loneliness.

The critically acclaimed sixth studio album by the English heavy metal band, originally released in April 1980. It was the band's first album to feature Dave Holland on drums. This edition will be a transparent, black and white splatter vinyl.

The debut album from the London-based band, it is home to their biggest hit ‘She’s So Lovely (191m+ streams) and well as some of their other most popular tracks Elvis Ain’t Dead (55m+ streams) and Heartbeat (45m + streams). This has not been available of vinyl for many years and this release will be the first time it has been available on (Orange & Black Marble) Colour LP Vinyl.

Certified Silver by the BPI, Warnings/Promises was the band’s fourth album and their second to break into the Top 10 following the success of their previous album, The Remote Part. After the release of The Remote Part, the band had a change in personnel with Gavin Fox replacing bassist Bob Fairfoull and touring guitarist Allan Stewart became a permanent member.

Warnings/Promises saw them take a different approach to the writing process, involving the whole band for the first time with a sound that marked a shift towards melodic rock as well as contemporary folk. A more stripped back sound than their previous albums, it featured the singles I Understand It, El Capitan and lead single, Love Steals Us From Loneliness.

“A huge thing for this record was to make it feel as close to our live show as possible,” says Tom Sharkett of W.H. Lung’s latest album. “We didn’t want it to sound live but we wanted to capture the excitement of the live performances.”

This is something that has become paramount to the group in recent years as they have undeniably blossomed into one of the most joyous and arresting live bands in the country. “The reason I’m in a band is to play live music,” says singer Joe Evans. “For me, music is live music. That’s what it’s for, to be played with people.”

The five-piece band, also featuring Chris Mulligan, Hannah Peace, and Alex Mercer-Main, decided to try something new on their third album after two incredibly successful collaborations with previous producer Matt Peel. In order to capture the energy, spirit and dynamism of their live shows, they relocated to Sheffield to work with Ross Orton (MIA, Arctic Monkeys, Working Men’s Club) who was able to harness this side of the band to remarkable effect. “Ross is the Sheffield Steve Albini,” says Evans. “He’s the king of not overthinking it and trusting the process of the art of recording songs. He was always there to stop us fucking around with cerebral stuff and get it down.” Sharkett echoes this too: “He was the exact producer we needed without us even realising. His productions and mixes are bombastic, lively and in your face and that’s exactly what we wanted.”

However, while this album is rooted in a sense of capturing a moment and a sparky liveness, that’s not to say it’s a raw or ragged record. It is still a meticulously composed, delicately layered and pristinely produced piece of work that, in true W.H. Lung style, runs the gauntlet from dance to pop to indie while still capturing that distinctly unique quality that is unquestionably their own. “It was a really big thing for me to realise what made us sound like us on this record,” says Sharkett. “I think the album sounds a lot more confident and self assured because of it. Some songs sound just so much like Lung and I’m really proud of that. I’m not sure we’ve done that as consistently across the other records.”

While the band have drilled deeper into finding their own singular identity, it’s not a record resting on its laurels. It’s a significant leap forward, expanding on their solid foundations while also breaking new ground. “The big difference with this record is its directness in every sense,” says Sharkett. “The songwriting is more upfront. Previously we’d focused a lot on vibe and production as opposed to just writing songs. The overall mission here was to revert to a classic songwriting structure and for the production to come afterwards.” And so what you have on this record are deeply considered and well-crafted songs, then recorded with blistering intensity in the moment, and then given a touch of experimentation afterwards. Then throw in Orton’s contributions to the band and it’s proven to be a real winning formula. “He brought a real dose of magic to the songs we’d written,” says Sharkett. “And brought an extra bit of wonk and quirkiness each time.”

The band’s ability to write more traditional and conventional songs is clearly a skill they’ve taken to with ease, at times there’s an almost Springsteen-like quality – but if he'd ever had an ecstasy period – to tracks such as ‘Thinner Wine’ and ‘Bloom and Fade’. While ‘How to Walk’ was constructed with one thing only in mind: that it would absolutely slay on stage. “I can’t wait to play this live,” says Evans. “We wanted a song to represent our live set, a new big one, and this is it.” Once again it leans towards the anthemic, with its driving, propulsive charge complete with incandescent synths and vocal melodies so irresistible you can already hear them being sung in unison by a crowd.

It’s an incredibly difficult feat to pull off a record that is more rooted in traditional songcraft while also capturing the power of a live performance, as well as pushing sonics into experimental new directions while working with a brand new collaborator. But here the band has managed to do just that. And the album’s closing song ‘I Will Set Fire To The House’ is a perfect example of such a thing. It’s a song that feels immaculately constructed but also very much alive and of the moment as its radiating synths engulf from the off, and Evans’ vocal is silky but powerful and in perfect symbiosis with Peace’s. It’s a song that captures the endless joys of music playing long into the night. “It may be a bit of a bloody bombastic way to end an album saying ‘and we’ll dance into the sunrise’,” says Evans. “But fuck it.”

MORE PRESS ON ‘VANITIES’ (MELO131)

"Vanities artily refines an exhilarating brand of up-front electro-dance" MOJO ⅘

'Idiosyncratic yet euphoric electronic pop on triumphant second LP' 9/10 Uncut

''One of the most effective alternative pop albums of the year'' 4/5 Record Collector
'Dance music for the modern age' - The Times (4*)

The Intima led a chameleon-like existence from 1999 to 2004, confounding critics who struggled to describe their distinctive sound while sharing stages with everyone from The Rapture to The Mekons. Hailing from Olympia and Portland, the postpunk quartet utilized sharp rhythms, prescient lyrics, and a collaborative compositional approach to conjure forth a sound that manages to be explosive yet detailed, experimental yet propulsive and melodic. Featuring a classically-trained violinist, custom-tuned guitars that careen at odd angles, and an imaginative and powerful rhythm section, the band explored the intersection of art-punk and agitpop with a spirit and tenor uniquely their own. In 2017, the Polish website More Noise summed up their sound by saying that "the first association that comes to mind is The Ex and the Dutch avant punk scene of the 1980s, but fans of the bands Dirty Three, Godspeed You Black Emperor and Unwound may also be intrigued."The group toured the States extensively during the 4+ years that they were active, including one grueling six-week tour undertaken just after 9/11 and another one in 2003 during which the US began bombing Iraq. The group's live sets are remembered for their combination of unbridled intensity and tightly-coiled musicianship, as well as their chaos potential, whether that chaos was performing in the middle of an illegal street party or causing a PA to burst into flames immediately preceding a headlining set by Deerhoof. A memorable show in DC with Q And Not U was mentioned by Dischord group Black Eyes in their Speaking In Tongues booklet last year, with Hugh McElroy describing the Intima as "a really aggressively-beautiful and poetic punk band with a violin where a guitar normally would be...pushing genre barriers in a way that helped me see a vision of how we might want to do that ourselves."Peril and Panic was recorded in Olympia over eight months in 2002 and was released in 2003 on LP (Zum/Collective Jyrk) and CD (Slowdance). In 2022, in the midst of the pandemic, the group commissioned Jason Powers to remix the original tracks from the ground up, which turned into an 18-month endeavor that included some compositional edits, significant work to improve the sound of the drums, and the uncovering of unreleased songs. Today, a fully remixed and remastered Peril and Panic is finally being released into the wild sounding much closer to how it was originally meant to be heard. Sounding more relevant than ever, it seems increasingly clear that the ideas and feelings that informed both band and album are no longer so "radical" - if anything, they've become the zeitgeist of today, as a confluence of global crises points to a fraught future long predicted.

An incredible version of 7 Days Too Long on beautiful green vinyl, by New Zealand Soul Sensations Jamie and The Numbers. To make this even more special, the artwork has been inspired by Dexy’s Midnight Runner’s debut album “Searching for the Young Soul Rebels”, as well as the sleeve notes written by Kevin Archer. It also features the trombone skills of “Big” Jim Paterson!

“The original by Chuck Wood was released in the 60's. However, it was 1973 when I heard it for the first time whilst growing up in the Black Country. At the time, I was just 15 years old and having no siblings, I looked towards the older kids, who for me, were into the scene, especially Northern Soul. There were songs such as "Me & Baby Brother" by War, and the commercial "Skiing In The Snow" by The Invitations that grabbed my attention, plus I also liked the drummer Hamilton Bohannon.

The footwear of choice were Solatio shoes, which had leather soles that allowed shuffling on the dancefloor, as well as the great acts of acrobatics during the high points of these great tunes. Although girls attended these gatherings, it was unheard of to ask a girl to dance. It just wasn't the cool thing to do! All of this brings me to Dexys Midnight Runners. Mike Taylor, a friend of the band, suggested covering this song. Our sound was a little bit like Jamie & The Numbers, in what both bands set out to achieve with each of their respective sounds. This version has been inspired by Dexys - the intro, the breakdown, the guitar and organ driven vibe, all providing the perfect backdrop for the amazing talent of Jamie Musava. Her vocals are just brilliant and of course, Big Jimmy is there with them on trombone. Now for the caper...”

mindSET is the ninth album from enigmatic producer SW., directly following this summer’s excursion into his trademark techno, IDM and bleep soundscapes, on the myDEFINITIONS Vol II album. But with his mindSET album SW. takes a left turn, as pioneers often do, and we find ourselves on the lesser traveled side roads of electronic music history. Or in SW.’s own words: “the more abstract leftfield elements.”
It’s in these less-defined areas that SW. finds his sweet spot, building dancefloor soundtracks that defied definition. And with mindSET the sounds and the machines might have changed, the methodology remains the same.
“It draws from what was more generally seen in leftfield as a term for the slightly off-kilter house and broken beats that didn’t fit neatly into classic genres, whether that was Chicago house, French garage, drum and bass, or broken beat. It’s more about those in-between sounds that never really took off, only appearing briefly in the early to mid-90s and then quickly disappearing. There was a certain magic in that moment, which I wanted to capture. Also, the entire album was produced using classic analog equipment, with old machines that were used during that era. That’s the approach I’ve taken.”
The eight tracks on mindSET are shaped out of de-tuned techno pop synths and heavy, syncopated drums, grooving along chopped-up polymeters to create an eerie mood, as if orbiting an undiscovered planet for the first time. The harmonic movements are often bent out of shape, sometimes veering towards Gherkin Jerks or Cristian Vogel territory. But in the end, the sounds are less important than the atmosphere, and the tracks represent an attitude or an approach - to creating the music as well as experiencing it. mindSET is a nod to those dancers sharing an oddball moment, and for those of us on the same wavelength, it's a vibe we can all get inside.

RUN-DMC DOWN WITH THE KING 30th ANNIVERSARY Pressed On Red, White and Black Double Colored Vinyl With Commemorative Numbered OBI Limited To 2000 Copies Thirty years ago on May 4, 1993, Run-DMC made one of the greatest comebacks in Hip-Hop history with the release of their 6th studio album Down With The King. To understand the significance of this feat we have to go back a few years. Coming off an amazing four-album run ending with the platinum album Tougher Than Leather, Run-DMC released their 5th studio album, Back From Hell, to lackluster sales. Did Run-DMC fall off? Did the emergence of gangsta rap push them off to the side? It was sad to see your Hip-Hop heroes take a fall. Then in 1991, a 12-inch remix came out for the single "Back From Hell" featuring Chuck D and Ice Cube and fans took notice. It would be two more years before anyone would hear from Run-DMC again. In March of 1993, a new single and video “Down With The King” debuted on Yo! MTV Raps featuring the new Hip-Hop Gods Pete Rock and CL Smooth paying homage to The Kings calling back verses from Sucker MCs over a dope signature Pete Rock beat. The video would be in constant rotation on Ralph McDaniels Video Music Box, YO!, BET’s Rap City and more. Fans watched it over and over to catch all the cameos, everyone from Eazy-E to the Native Tongues Family of De La Soul and A Tribe Called Quest. The anticipation was building, but would the album live up to the lead single that knocked it out of the park? On May 4, 1993, the album dropped on CD, Cassette, and Vinyl. Run-DMC enlisted The Bomb Squad from Public Enemy, Q-Tip, EPMD, Jermaine Dupri, Kay Gee of Naughty By Nature, and Pete Rock to produce the album with a special appearance by Tom Morello rocking out his guitar emulating DJ scratches he made famous with Rage Against The Machine. Their rhyming was as enthusiastic and powerful as they were on their debut album 10 years prior. Run-DMC, the self-proclaimed Kings of Rock and original Kings of Hip Hop were indeed back. The album debuted at #1 on the R&B/Hip-Hop charts and #7 on the Billboard 200 and would go Gold within two months. Get On Down is proud to present for the first time on vinyl since its original release, a 30 Year Anniversary pressing on double-colored vinyl with numbered OBI in a gatefold jacket.

After seven years, Japandroids have returned with Fate and Alcohol, their fourth and final full-length. Written in part while the Vancouver duo-guitarist-vocalist Brian King and drummer-vocalist David Prowse-were touring behind their 2017 ANTI- debut, Near to the Wild Heart of Life, the album is at once a return to form and a thrilling step forward, testament to the sort of chemistry that they"ve honed over the course of 18 years and hundreds of shows side-by-side. Their aim was simply to write songs that they"d enjoy playing live, without sacrificing any of the nuance or ambition that marked their previous effort. Nowhere on this record is that more deeply felt than lead single "Chicago," a song whose sheer momentum feels inevitable and true-from the inherent romance of its opening chords to the series of snare-led explosions that see it through. Like the rest of Fate and Alcohol, it was recorded in Vancouver with longtime collaborator Jesse Gander, who also engineered 2009"s Post-Nothing and 2012"s Celebration Rock. "The very first demo we have of "Chicago" was recorded in our jam space on February 4th, 2020," King says, "and if you listen to that, it just sounds like a rough version of what you hear on the record. But it"s all there. That, in some ways, is the most ideal circumstance for a band like us: just having something that really rips in your jam space, something that feels good, something that you"re excited about."

Nap Eyes' metamorpher fünfter Longplayer versammelt neun faszinierende Songs, die in den vier Jahren seit "Snapshot of a Beginner" aufgenommen wurden. "The Neon Gate" enthält klassische Themen (das unruhige Zusammenspiel von Physik und Philosophie, umherwandernde Meditationen, Selbstbefragungen, Öffnungen der Surrealität, Videospiele), aber auch Anzeichen für abweichende Impulse in Richtung nichtlinearer Abstraktion und improvisierter Komposition in Langform (was zu ihren bisher diskursivsten, dekonstruiertesten und delikatesten Liedern führt) und erzählerischer und lyrischer Formalität (einschließlich der Adaptionen von dornigen Gedichten von Alexander Puschkin und W. B. Yeats), die den Eindruck vermitteln, dass sich Nap Eyes ebenso gewandelt haben wie ihr Verständnis davon, was ein Lied ist, was es kann und wohin es gehen könnte.

Nour Mobarak’s Dafne Phono is an adaptation of the first opera, Dafne, composed and written by Jacopo Peri and Ottavio Rinuccini in 1598. Drawing on the myth of Daphne and Apollo from Ovid’s Metamorphoses—a story of unrequited love, patriarchal possession, conquest, and transformation—Mobarak’s multimedia and multispecies reimagining splinters the opera’s Italian libretto. Alongside English and Greek versions, it is translated into some of the world’s most phonetically complex languages—Abkhaz, San Juan Quiahije Eastern Chatino, Silbo Gomero, and !Xoon. In this process, the narrative—and an artifact of Western culture—is dismantled, metabolized, and rendered into unruly utterances that shape the sensorium as much as they do the capacity for sense-making. These voices are given material form by a cast of mycelium sonic sculptures whose rhizomatic compositions and broadcasted recordings resemble the formation and mutation of language over time, reconstituting speech into a new, polyphonic body politic, composed of voices whose striking, poetic utterances transfix and transcend meaning.

The A-Side of the record presents a stereo version of Mobarak’s 15-channel sound installation, Dafne Phono. The B-Side uses a recording of a portion of the translation process the libretto underwent in Namibia, live-processed by the artist.

The LP is published on the occasion of Nour Mobarak’s exhibition at The Museum of Modern Art, New York (October 26, 2024–January 12, 2025), with support from Sylvia Kouvali.

Artist Bio:
Nour Pamela Mobarak (Lebanese-American, b. 1985, Cairo, Egypt) lives and works between Los Angeles; Bainbridge Island; and Athens, Greece. Her works have been shown at Sylvia Kouvali (formerly Rodeo), London/Paris; Schinkel Pavillon, Berlin; MIT List Visual Arts Center, Cambridge, MA; Amant, Brooklyn; JOAN, Los Angeles; Kim? Contemporary Art Centre, Riga; Miguel Abreu Gallery, New York; Hakuna Matata, Los Angeles; and Cubitt Gallery, London. Exhibitions at the Museum of Modern Art, New York, and Castello di Tivoli Museo d’Arte Contemporanea, Turin, are forthcoming. She has performed at Western Front, Vancouver; 2220, the Hammer Museum, and LAXART, Los Angeles; Cafe OTO, London; Renaissance Society, Chicago; the Museum of Contemporary Art, San Diego; and elsewhere. Her music has been released by Recital (Los Angeles), Cafe OTO’s TakuRoku (London), and Ultra Eczema (Antwerp), and she has had sessions on BBC Radio 3, NTS Radio, and Dublab Radio. Mobarak’s writing has been published in Triple Canopy, F.R. David, The Claudius App, and the Salzburg Review, and her first catalog, Sphere Studies and Subterranean Bounce was published by Recital (2021). She received a BA in English and Media Studies from Sussex University and did further studies at Université Paris-Sorbonne, Paris IV. She has held residencies at Denniston Hill, New York and the Institute of Contemporary Art, Los Angeles, and was the recipient of the 2023 FOCA fellowship award. Mobarak was a 2024 faculty at Bard College MFA program.

Dafne Phono Vocalists:
Apollo: Renato Grieco (Italian)
Cupid: Arnou Argun (Abkhaz)
Dafne: Agnes | xaye (!Xoon)
Ovid: Olivia O’Dwyer (Latin)
Venus: Don Eugenio Darias (Silbo Gomero)
Abkhaz Chorus: Liana Ebzhnou, Murman Guaramia, Fatima Kharzalia, and Gunda Osia
Chatino Chorus: Felix Daniel Peña Mendes, José Vasquez Canseco, Catalina Candelario Matias, and Claudia Garcia Baltazar
!Xoon Chorus: Franco Tsame, John Djujui Klosi Barase, and Charity Tsame
Clarinet: Steve Kado

If a “sound” is unique, it can often expect a reasonable success. However, it takes a great deal more than just uniqueness to sustain this success. The Fleetwoods did this – and more. They became America’s top teenage vocal trio. Their sound was more than just different and identifiably their own. It was a perfect blend of young voices, just right for so many of the fine ballads they were singing. The Fleetwoods’ secret, if you can call it a secret, was sincerity. They simply gave each lyric they sang its truest and sincerest meaning. Over the years, many others have tried to imitate them, but none have come close to the overwhelming success they had. We hope you will enjoy this album of The Fleetwoods’ very best recordings.

Emma Anderson, Mitbegründerin von Lush und Sing-Sing, veröffentlicht Spiralée: Pearlies Rearranged. Es besteht aus neuen Versionen aller 10 Tracks ihres letztjährigen Solo-Debütalbums Pearlies, die von Julia Holter, LoneLady, The Orielles, deary, Daniel Hunt (Ladytron), Lorelle Meets The Obsolete, MEMORIALS, Concretism, Masal und dem Produzenten des Originalalbums, James Chapman alias Maps, neu interpretiert wurden. Wir nennen es nicht Remix-Album, denn es ist so viel mehr als das - alles wurde neu arrangiert, von den Tracks über die Reihenfolge bis hin zum anagrammatischen Titel (der zu Stuart Jones' atemberaubendem Spirograph-meets-Saul Bass-Artwork führte), und das Ergebnis ist im Grunde eine brandneue Platte. ,Es war eine Chance, einige wirklich einfallsreiche Leute zu finden, die die Tracks auf den Kopf stellen, und genau das ist passiert", erklärt Emma. ,Wir haben eine interessante Reihe von Künstlern ausgewählt und ihnen die Stems ohne Vorgaben gegeben, um zu sehen, was sie sich einfallen lassen würden. Das Ergebnis ist absolut brillant und eine Platte, die für sich allein steht, ohne dass man weiß, wie die Originale sind." Tracklisting: 1. Willow And Mallow (Daniel Hunt Mix) 2. The Presence (Concretism Mix) 3. Clusters (LoneLady Lost Minds Mix) 4. For A Moment (deary Dub Mix) 5. Xanthe (Witching Time Version) 6. Inter Light (MEMORIALS Mix) 7. Taste The Air (Julia Holter Mix) 8. Tonight Is Mine (Lorelle Meets The Obsolete 84-86 Mix) 9. Bend The Round (The Orielles Blend The Round Mix) 10. I Was Miles Away (Masal Spectral Mix)

Emma Anderson, Mitbegründerin von Lush und Sing-Sing, veröffentlicht Spiralée: Pearlies Rearranged. Es besteht aus neuen Versionen aller 10 Tracks ihres letztjährigen Solo-Debütalbums Pearlies, die von Julia Holter, LoneLady, The Orielles, deary, Daniel Hunt (Ladytron), Lorelle Meets The Obsolete, MEMORIALS, Concretism, Masal und dem Produzenten des Originalalbums, James Chapman alias Maps, neu interpretiert wurden. Wir nennen es nicht Remix-Album, denn es ist so viel mehr als das - alles wurde neu arrangiert, von den Tracks über die Reihenfolge bis hin zum anagrammatischen Titel (der zu Stuart Jones' atemberaubendem Spirograph-meets-Saul Bass-Artwork führte), und das Ergebnis ist im Grunde eine brandneue Platte. ,Es war eine Chance, einige wirklich einfallsreiche Leute zu finden, die die Tracks auf den Kopf stellen, und genau das ist passiert", erklärt Emma. ,Wir haben eine interessante Reihe von Künstlern ausgewählt und ihnen die Stems ohne Vorgaben gegeben, um zu sehen, was sie sich einfallen lassen würden. Das Ergebnis ist absolut brillant und eine Platte, die für sich allein steht, ohne dass man weiß, wie die Originale sind." Tracklisting: 1. Willow And Mallow (Daniel Hunt Mix) 2. The Presence (Concretism Mix) 3. Clusters (LoneLady Lost Minds Mix) 4. For A Moment (deary Dub Mix) 5. Xanthe (Witching Time Version) 6. Inter Light (MEMORIALS Mix) 7. Taste The Air (Julia Holter Mix) 8. Tonight Is Mine (Lorelle Meets The Obsolete 84-86 Mix) 9. Bend The Round (The Orielles Blend The Round Mix) 10. I Was Miles Away (Masal Spectral Mix)

Emma Anderson, Mitbegründerin von Lush und Sing-Sing, veröffentlicht Spiralée: Pearlies Rearranged. Es besteht aus neuen Versionen aller 10 Tracks ihres letztjährigen Solo-Debütalbums Pearlies, die von Julia Holter, LoneLady, The Orielles, deary, Daniel Hunt (Ladytron), Lorelle Meets The Obsolete, MEMORIALS, Concretism, Masal und dem Produzenten des Originalalbums, James Chapman alias Maps, neu interpretiert wurden. Wir nennen es nicht Remix-Album, denn es ist so viel mehr als das - alles wurde neu arrangiert, von den Tracks über die Reihenfolge bis hin zum anagrammatischen Titel (der zu Stuart Jones' atemberaubendem Spirograph-meets-Saul Bass-Artwork führte), und das Ergebnis ist im Grunde eine brandneue Platte. ,Es war eine Chance, einige wirklich einfallsreiche Leute zu finden, die die Tracks auf den Kopf stellen, und genau das ist passiert", erklärt Emma. ,Wir haben eine interessante Reihe von Künstlern ausgewählt und ihnen die Stems ohne Vorgaben gegeben, um zu sehen, was sie sich einfallen lassen würden. Das Ergebnis ist absolut brillant und eine Platte, die für sich allein steht, ohne dass man weiß, wie die Originale sind." Tracklisting: 1. Willow And Mallow (Daniel Hunt Mix) 2. The Presence (Concretism Mix) 3. Clusters (LoneLady Lost Minds Mix) 4. For A Moment (deary Dub Mix) 5. Xanthe (Witching Time Version) 6. Inter Light (MEMORIALS Mix) 7. Taste The Air (Julia Holter Mix) 8. Tonight Is Mine (Lorelle Meets The Obsolete 84-86 Mix) 9. Bend The Round (The Orielles Blend The Round Mix) 10. I Was Miles Away (Masal Spectral Mix) Limitierte Summer Wine LP Edition

The album is Frost* at its most ambitious, offering nearly 90 minutes of music over 14 exquisite tracks. The album is the brainchild of Godfrey who was inspired to create the conceptual world for the album based on the group’s previous release Day and Age (2021).

Fans of the band’s masterful debut album Milliontown (2006) will enjoy the band revisiting the style that made that debut album one of the most successful prog rock albums of the last 20 years, a fact that was not lost on Godfrey as he was writing this new record. “With Day and Age, we made it a very specific point: we're not doing any solos, we'll do clever arrangements. And we enjoyed that discipline, but this time I thought it might be good to row back on that position a bit. Plus I wanted to have a little bit of a nod to Milliontown with this album, because it's been nearly 20 years since Milliontown came out and I’m still proud of it. The 15-minute title track has a few of those Milliontown moments in it which were great fun to do again.”
Mitwirkende
wird veröffentlicht am 18. Oktober 2024

Line-Up:
Jem Godfrey – Keyboards, guitar, vocals
Nathan King – Bass, vocals
John Mitchell – Guitars, vocals
Craig Blundell - drums

"Jede Prog-Band, die etwas auf sich hält, sollte eigentlich ein Doppelalbum machen, oder?", fragt Frost*-Frontmann Jem Godfrey. Das war eine der ersten Ideen, als der Songwriter/Keyboarder/Sänger der Band die Arbeit an Frost*s 5. Studioalbum "Life in the Wires" in Angriff nahm. Das Album ist Frost*s ehrgeizigstes Werk und bietet fast 90 Minuten Musik auf 14 exquisiten Tracks. Das Album ist das Geistesprodukt von Godfrey, der von der vorherigen Veröffentlichung "Day and Age" (2021) der Gruppe inspiriert wurde, die konzeptionelle Welt für das Album zu erschaffen. Fans des meisterhaften Debütalbums "Milliontown" (2006) werden sich freuen, dass die Band den Stil wieder aufgreift, der das Debütalbum zu einem der erfolgreichsten Prog-Rock-Alben der letzten 20 Jahre gemacht hat - eine Tatsache, die Godfrey nicht entgangen ist, als er das neue Album schrieb. "Bei Day and Age haben wir es sehr genau genommen: Wir machen keine Soli, wir machen clevere Arrangements. Und wir haben diese Disziplin genossen, aber dieses Mal dachte ich, es wäre gut, in dieser Position ein wenig zurückzurudern. Außerdem wollte ich mit diesem Album eine kleine Anspielung auf Milliontown machen, denn es ist schon fast 20 Jahre her, dass Milliontown herauskam, und ich bin immer noch stolz darauf. Der 15-minütige Titeltrack enthält ein paar dieser Milliontown-Momente, die zu wiederholen mir großen Spaß gemacht hat." "Life in the Wires" wird als limitierte 2CD Edition, als Gatefold 2LP und als Digitales Album erhältlich sein, mit atemberaubendem Artwork von Carl Glover (Steven Wilson).

After their critically acclaimed full length vinyl release “Acid Universe” from last year, the American (from Fargo, North Dakota) psychedelic, proggy, bluesy and groovy instrumental stoner rock band El Supremo continues on “Signor Morte Improvvisa” with its strong line-up featuring Chad Heille on drums, Neal Stein on guitar, Chris Gould on organ/keys and Cameron Dewald on bass. El Supremo was originally formed as a one-man project with Chad Heille playing all the instruments and handling recording/production. A self-titled full-length demo was released in 2008, with Tom Canning and Neal Stein only contributing guitar solos. Chad and Neal went on to play in the band Egypt from 2012 to 2018. After Egypt split, it was time for Chad and Neal to continue under the El Supremo name, whose influences are rooted in classic 70’s rock, heavy blues and cinematic (cosmic / desert) stoner rock. “Signor Morte Improvvisa” is their third full-album. Vinyl.

The Blessed Madonna began with three magic words, scrawled in shoe polish on a broken - down box and hung on the wall at a small sweaty party: We Still Believe. “I think you have to give up completely to really understand what hope is. It was like 2011? I had spectacularly, monumentally failed. I left the label. I wasn’t DJing. I wasn’t putting out records. I was divorced and living on my Dad’s couch so naturally my friends and I decided to throw an illegal rave. We didn’t have any decorations, so I took a box and wrote, ‘We Still Believe’ on it. I needed to believe that something better was possible and that’s how it all started.” After years of $50 gigs, strung together by gas money and surfed couches, The Blessed Madonna cemented her reputation as a sublime technician behind the decks with a legacy of fluent and dynamic sets, spanning from disco to techno to house and back. One room sweatboxes, circus tents, theatres, massive festival stages and entire city blocks have all served as the canvas for her shows. After a jam packed 2023, from Glastonbury to Sonar to Boiler Room Bali, The Blessed Madonna has been filling the dance floor everywhere she goes and is now releasing her debut album.